“炮兵警衛(wèi)”的制作

嗨，我的名字是Bartosz BieA ，我是人物藝術(shù)家，我是3D角色藝術(shù)家，但我決定在家里練習(xí)我的2D技能，所以我創(chuàng)造了這個(gè)形象。因?yàn)槲彝娴囊恍┯螒�，我想�?chuàng)造一些瘋狂的精英士兵，所以我想把拿破侖式的士兵和一些黑暗的幻想聯(lián)系起來(lái)會(huì)很好。

Hi, my name is Bartosz Bie, and I'm character artist in People Can Fly, Poland. Professionally I'm a 3D character artist, but I decided to I wanted to practice my 2D skills at home and so I created this image. I was in Napoleonic mood, because of some games I was playing, and I wanted to create some mad, elite soldier so I thought that would be nice to connect this Napoleonic style soldier with some dark fantasy.

當(dāng)我意識(shí)到這一點(diǎn)的時(shí)候，我開始收集一些來(lái)自那個(gè)世紀(jì)的士兵的資料。然后我做了我的第一個(gè)快速草圖的士兵(圖01)。

When I had this in my mind I started by collecting some references of soldiers from that century. And then I made my first quick sketches of this soldier (Fig.01).

圖 01

然后我選擇了一個(gè)適合我的動(dòng)作，然后我開始做這個(gè)素描。那時(shí)候，我有一個(gè)隨機(jī)的非純白色背景，我的畫布大小相當(dāng)小(圖02)。

I then picked a pose that suited me best and I started further work on this sketch. At that moment I had a random none-pure-white background, and my canvas size was rather small (Fig.02).

圖 02

我對(duì)它的進(jìn)展很滿意，所以我把畫布擴(kuò)大到更大的尺寸，開始清理草圖，為這個(gè)士兵添加一些特征細(xì)節(jié)(圖03)。在畫草圖的時(shí)候，我對(duì)我的士兵的設(shè)計(jì)很滿意。他看起來(lái)很生氣很生氣，你肯定不想惹他!

I was happy with this where it was going and so I increased my canvas to a bigger size and started cleaning a sketch and adding some characteristic details for this soldier (Fig.03). With the sketching done, I was quite happy with the design of my soldier. It came out the way I wanted him to look. He looks angry and pissed and you definitely don't want to mess with him!

圖03

現(xiàn)在我準(zhǔn)備添加一些顏色。在這一點(diǎn)上，我使用了標(biāo)準(zhǔn)的Photoshop畫筆。我的速寫層被鎖上了，并開始增加顏色。我把這層鎖上了，因?yàn)槲也幌朐佼嫴輬D了。我發(fā)現(xiàn)鎖定層對(duì)我非常有用。

Now I was ready to add in some color. At this point I used standard Photoshop brushes. My sketch layer was locked and set to Multiply. I locked this layer because I didn't want to paint on the sketch anymore. I find locking layers very useful for me.

所以草圖被鎖定，我在這個(gè)圖層下工作。起初我創(chuàng)建了一個(gè)整體形狀的面具;這在我處理這個(gè)圖像的時(shí)候幫了我很多。在一個(gè)單獨(dú)的圖層上，我用士兵的平面顏色填充了形狀(圖04)。

So the sketch was locked and set to Multiply, and I was working under this layer. At first I created an overall shape mask; this helped me a lot while working on this image. On a separate layer I filled the shapes with the flat colors of my soldier (Fig.04).

圖 04

在整個(gè)繪制過程中，我盡量不使用太多的層。如上所述，對(duì)于這幅圖像，我在所有的東西上面都畫了一個(gè)草圖，然后再合并。然后我有一個(gè)剪影圖層，我用它快速地選擇了那個(gè)家伙，一個(gè)有主圖像的基層，以及我畫的一個(gè)圖層。當(dāng)我對(duì)結(jié)果感到滿意時(shí)，我將它與基層合并，并重新繪制了一個(gè)新的。

I try to not use too many layers during the whole drawing process. As mentioned above, for this image I had the sketch layer on top of everything, set to Multiply. I then had a silhouette layer that I used to quickly select the guy, a base layer that I had the main image on, and a layer that I painted on. When I was happy with the result I merged it with the base layer and painted again on a new one.

對(duì)于繪畫，我主要用的是一種附在雜志上的刷子(想象)。它有一幅非常好看的油畫，我非常喜歡。因?yàn)橛辛水嫻P，在Photoshop中畫的畫看起來(lái)不那么數(shù)字化(圖05)。

For painting I mainly use a brush that was attached to a magazine (ImagineFX). It has a very nice painterly look that I like very much. Because of that brush, paintings made in Photoshop don't look so digital (Fig.05).

圖05

然后我決定了主光源的位置，開始著色。起初我畫的是影子的平均值，然后是光的平均值。我選擇了一種暖色調(diào)的光線，并為陰影部分選擇了一種冷色。在花了一些時(shí)間來(lái)精煉這個(gè)瘋狂的士兵后，我意識(shí)到他的手有問題(圖06)。在草圖上，手的整體形狀看起來(lái)還不錯(cuò)，但當(dāng)我開始增加價(jià)值時(shí)，肯定是出了問題。所以我盡快重新設(shè)計(jì)了這只手，并繼續(xù)使用這些值。

Then I decided where the main light would be and started shading. At first I painted average for the shadow, then average for the light. I picked a warm color for the light and, for a contrast, a cool color for the shaded areas. After spending some time refining this mad soldier I realized that there as something wrong with his mutated hand (Fig.06). The overall shape of a hand looked alright on a sketch, but when I started to add value there was definitely something wrong. So I redesigned the hand as soon as possible and moved on with the values.

圖06

我為他做的越來(lái)越多，給他更多的3D效果。當(dāng)細(xì)化照明區(qū)域和陰影區(qū)域時(shí)，最好不要在沒有休息的情況下工作。我有很多休息時(shí)間!這讓你的眼睛煥然一新。當(dāng)我在工作的時(shí)候，我總是使用Flip水平的工具，因?yàn)檫@會(huì)給你一個(gè)不同的視角，而且容易發(fā)現(xiàn)錯(cuò)誤。

I worked on him more and more to give him more 3D look. When refining lit areas and shaded areas, it is good idea to not work without a break. I had a lot of breaks! This gives the eye a fresh look on your work. While I'm working I'm always using Flip Horizontal tool as this gives you a different point of view, and it is easier to spot mistakes.

我為他的外套和帽子制作了一個(gè)簡(jiǎn)單的毛刷(圖07)。這把刷子使它變得更容易繪制。

I created a simple brush for painting fur on his coat and his cap (Fig.07). This brush made it a lot easier and faster.

圖 07

當(dāng)我在處理這些值、顏色和燈光的時(shí)候——添加了越來(lái)越多的細(xì)節(jié)——我也減少了草稿層的不透明度。過了一段時(shí)間，草圖上的線條不再需要了，因?yàn)槲覐倪@些值中得到了足夠的形狀信息。我添加了一個(gè)陰影，這有助于把他固定在地面上，我開始在背景中添加一些值，簡(jiǎn)單的東西，僅僅是把一些東西合并在一起(圖08)。

While I was working with the values, colors and lighting - adding more and more detail - I also decreased the opacity of my sketch layer. After some time the lines from the sketch were no longer needed, because I had enough information about the shapes from the values. I added a shadow that he is casting on the ground, which helped to attach him to the ground I started to add some values to the background, simple stuff, just to merge things together a little bit more (Fig.08).

圖 08

我從后面加了一盞藍(lán)色的燈，讓他的形狀更容易讀懂，并給場(chǎng)景增添了更戲劇性的效果。

I added a blue light from the back, to make his shapes more readable, and to add a more dramatic look to the scene.

我更多地使用了背景，我使用了一些自由的畫筆，有樹和草的圖案，并在背景中調(diào)整了光線。我在最后的錨上加了鏈子，他正在掙扎著。我創(chuàng)建了一個(gè)鏈，使用轉(zhuǎn)換工具來(lái)增加重量和重力，然后復(fù)制它(圖09)。

Working more with the background, I used some free brushes with patterns of trees and grass and adjusted a light in the background. I added chains attached to the anchor at the end, which he is struggling with. I created one string of chains, used the Transformation tool to add more weight and gravity, and then I duplicated it (Fig.09).

圖 09

我添加了一些更全面的細(xì)節(jié)，特別是在手上。我不喜歡他的外套和帽子上畫的皮毛，所以我用了一件毛皮的紋理樣本。我在這些部分上疊加了這個(gè)紋理，并將不透明度設(shè)置為一個(gè)看起來(lái)不錯(cuò)的水平。然后我提煉出更多的背光的形狀(圖10)。

I added some more overall detail, especially on the hand. I didn't like the look of the painted fur on his coat and a cap, so I used a texture sample of a fur. I overlayed this texture on top of these parts and set the opacity to a level where it looked good. Then I refined more shapes that were backlit (Fig.10).

圖10

圖像基本完成了。我用顏色平衡工具調(diào)整了整體的顏色。我讓陰涼的地方變得更藍(lán)更冷，與前面溫暖的主光形成對(duì)比。最后，我在我的角色周圍添加了一些碎片，使場(chǎng)景更具活力，包括前面的一些石頭。最后，我裁剪了圖像以得到最好的組合，并決定添加一些紋理重疊在所有的頂部，不透明度設(shè)置為5%。然后，我打開了我的草圖，使用非常低的不透明度。這給了我們第一張草圖的生命和能量，并幫助它看起來(lái)不那么數(shù)字化(圖11)。

The image was basically done. I tweaked some overall color with a Color Balance tool. I made shaded areas even more bluish and colder, to contrast with the warm main light from the front. At the end I added some debris around my character to make the scene more dynamic, including some stones in the front. Finally I cropped the image to get the best composition and decided to add some textures overlayed on top of everything with an opacity set to 5%. I then switched on my sketch layer on a very low opacity. This gave the image the life and energy of the first sketch, and helped it not to look so digital (Fig.11).

圖 11

總的來(lái)說，我對(duì)這個(gè)形象很滿意;它有我想要的能量和黑暗的心情。我希望你喜歡這個(gè)制作并且覺得它有用!

Overall I'm quite happy with this image; it has the energy and dark mood that I wanted. I hope you enjoyed this Making Of and find it useful!

最終圖像

Final Image