此教程出自CG畫家Craig Mullins之手，他被譽為色彩運用方面的大師級人物。從這個教程裡我們可以看到大師創作的一幅Sketch（草圖）作品。
軟件：PhotoShop
翻譯/整理：Stranger
教程全文：
1. 在一個蒙板層上畫下你作品主體的草稿輪廓，以便在整個繪畫過程中將它隨時作為一個選區來使用。
2. 現在回到RGB color通道，按如圖所示的方式做一個顏色過渡。此時在我腦海裡浮現的是一幅深綠色的場景並且在畫面的上部慢慢過渡到亮色。當你做這個過渡色時你應該有自己對光的設計，而這個思路將指揮你的整個作畫過程。這一步先不要出現忽然從亮部到暗部的轉折，如果需要的話你可以在後面的步驟添加這類區域。當然，你可以自己來試不同的方案，我所介紹的只是一種思路。
3. 讀取第1步中你畫好的那個蒙板（作為選取）。現在主體部分已經被選中，再次使用顏色過渡工具填充這個區域，得到了主體部分的主色過渡。
4. 反選。現在被選中的是背景。使用筆刷工具，將不透明度調低一些或者用一塊Wacom數位板來畫（壓感），在背景上畫一些簡單的概念色塊，用它們來起提示背景的內容。這時我會嘗試各種各樣的顏色。注意，讓你的線條只畫大塊面，先不要描畫任何細節部分。你可以看到我畫了一個暖色的區域以便暗示有光打在背景的地面上。用模糊工具來處理陰影。之後，我在背景的地面上畫了一個帶透視的圓形，以便產生縱深感。
5. 再次反選。現在主體被選中了。我用了一個大的軟筆刷將主體的上半部分提亮了一些。不過這倒不是必須的，只是我覺得這樣效果還不錯。
6. 現在開始用色塊來界定主體上的不同區域。我們剛才已經用顏色漸變工具做好了中間調的過渡，所以現在你可以用增亮、減暗的方式來勾勒出頂部光源照射下主體身上的各個部分。我在這裡使用的原則是這樣的：那些與水平面平行的處於中間調的面先不用管。將朝下的面或者在物體之間凹陷的部位以及處於陰影部分的區域畫上暗調。用大塊面來處理這些。同時應該注意，不要把它們畫成純黑色，我們現在的工作是處理中間調的部分，還沒有到最暗最暗的部分。
7. 現在，為那些朝上的表面畫一些比中間調更亮的筆觸。同時我在很多地方又添加了一些更暗的暗調。有時候添加一些亮部會讓你畫中的暗處顯得更精細，反之亦然。重複這些步驟，增加細節。然後我把槍的基調改了一下，這樣讓它看起來和人物盔甲的材質不同--更暗而且更冰冷。之後對槍做前面一樣的亮部暗部處理。
8. 現在處理最暗的暗部。真正的暗部一般出現在面與面交匯並且相互遮擋的地方。那些處於陰影中的部分也可以處理得很暗。
9. 最後處理亮部中的高光點。到這步你的主要精力就可以放在確定高光點的位置了，你可以一步步地深入。同時我為地板加了一些細節。完成！
在畫的過程中別忘了你可以把不同的步驟放在各自的層中處理。在開始的時候不要怕畫得慢，耐心一些多思考流程。開始的規劃越好，在後面的步驟就越少出現問題，如果你能堅持注意這些，就能形成穩固的繪畫工作流。（教程原文寫於2002年10月8日）
Gunman by Craig Mullins
 Step1 |
Draw your outline or silhouette in a mask channel so you can use it as a selection to paint through and behind throughout the process of painting.
 Step2 |
Now go to your RGB color channel and make a gradation like you see here. I have in mind a dark green picture with a diffuse overhead source. Keep in mind the type of lighting when you make this grad, as it will direct everything you do from here on out. Don't go from very bright to very dark, you can do that later if needed. Of course you can experiment. Have fun, it can work, this is only one way.
 Step3 |
Load your silhouette mask channel so that your figure is selected. Use the levels or curves to darken this area. Since you are darkening a range of pixels, you still have a nice grad in the figure, it is just on a lower scale.
 Step4 |
Inverse your selection so the BG is selected. Using a paintbrush se to low opacity or using a wacom, make a few abstract shapes behind your figure to suggest something behind. I varied the color a little here and there. Keep the shapes big and general, no rendering yet. You can see that I made a lighter warmer grad at the bottom to indicate light hitting the floor. A soft blob for the shadow from the figure. I put in a vertical circular step to add a little dimension
 Step5 |
Inverse your selection so the figure is selected again. I was losing the outline of the figure at the top, so I lightened it up a bit with a big soft brush. It is not really needed, but I thought it might help.
 Step6 |
Now the form definition begins on the figure. You have the middle tone created by the initial grad, so now you have to go up in value and down in value to show the form as revealed by the overhead light. So the logic here is a surface that is horizontal is in halftone and will be left alone. The darks are surfaces that face downward or are recessed in between objects or anything that is in shadow. Block these in with nice big general shapes. Do not make them black, remember, we are working from the middle values out, we have not gotten to the dark darks yet.
 Step7 |
Now go a little lighter than your midtones and any surface that faces upwards gets a lighter tone. I also added a few more darks here and there. Sometimes going lighter suggests where your darks can be refined a little more and vice versa. Work them back and forth. I also changed the basic tone of the weapons, as the would be of a different material from the armor suit. A little darker and a little cooler. Then do the darker and lighter block in procedure on the weapons as well.
 Step8 |
Now you can make your darkest darks. The real darks come where surfaces come together and shade each other from all light, both direct and ambient. Also dark surfaces in shadow can go very dark.
 Step9 |
Now go up to your lighter lights and you are about done. Now that all your major values are about where they should be, you can go on and render till you drop. I added a little definition of material to the floor. Keep in mind that you can keep any and all steps on separate layers if you want. Don't be afraid to work slowly at first. The better your block in the less noodling it will require later, and if you do detail it out, it will be on a solid foundation.
留言列表
