猫糊糊 |
2004-06-27 14:50 |
All this takes longer to type and post than to do... Next - shading. I'll leave the dog and butterfly for last, because I need to use the main figure as the touchstone - everything must work with her colors when she's finished, including the eventual forest background 所有这些花了比画更长的时间来打字和粘贴…… 下一步——阴影。我将把狗和蝴蝶放在最后,因为我需要使用主角作为标准——完成的时候所有东西必须配合她的色彩,包括最后的丛林背景。
Rendered version, no skirt yet. First I render the whole figure; then, when I do the skirt on another level, I can adjust the transparency. 渲染过的版本,还没有裙子。首先我给整个图案着色,之后当我在另一层上描绘裙子的时候我就可以调整透明度。 图片十:
This step has taken a lot of small steps, but if I'd posted them all, the differences would not be that great; better, I thought, to show the major difference, and then explain. So here goes. I do the rendering by using levels first, and flattening as I go along. I will choose a reddish brown again, and lay down a flat color in what I will want to be a shaded area, and then use the Gaussian Blur on it...this takes a little experimentation, and I change the setting depending on the amount of blur I want. Then it's just a matter of doing that over and over, flattening when I'm sure I want what I've done, and adding different colors - red, blue, purple, brown, black, to the skin for various shadows or tones, and white for highlights. 这一步包括很多小步骤,但如果我贴出来所有的步骤,区别将不会很明显。所以我想还是把主要的区别展示出来比较好,然后解释。我也就这么做了。我着色首先使用层,然后如果自己觉得可以了,就拼合图层。我还会再选择一个泛红的棕色,然后涂上单色调颜色在我认为应该有阴影的地方,然后对阴影应用高斯模糊……这个需要一些实验,我根据我想要的模糊值改变设置,下面就是重复这种步骤。当我确定我搞好了,就拼合,然后加入一些不同的颜色,红、蓝、紫、棕、黑,给皮肤不同的阴影和色调,白色给高光。
I usually put a white line around the edges of the figure - a broken line, of varied widths, sometimes disappearing in the darkest shadows - but I find that makes the figure pop and acts as an indication of backlight. The line is WITHIN the outline of the figure. 我通常放一些白线条围绕图形边缘——一个断开的有不同宽度的线条,通常会在最暗的阴影处消失——但是我发现那使图案突出而且表现为背光痕迹。这个线条嵌在角色的轮廓中。
When the figure is rendered as I wish, I try one more effect - I make a copy of the figure level, choose the white BG area and delete it (and in this case, the butterfly and dog, too), and then do Image>Brightness/Contrast and darken it considerably. Doesn't matter how much, really, just so it's dark enough; I'll lighten it by taking down the opacity of that level when I'm done. Then I take a large, blurred edge brush on eraser setting, set to perhaps 50%, and take out areas on this darkened level that I want to appear as light. It's like painting with light. I'll bump up to 100% eraser for the lightest edges, and I usually make the eyes as bright as possible, even if the face is in shadow. Then I'll adjust the opacity of the level and that's where I am at this point. 当图形按照我期望的着色后,我尝试另一个效果,我做了一个图层拷贝,选择白色背景区,然后删除(在这个例子中包括蝴蝶和狗),再这样作:Image > Brightness/Contrast,做较多的暗化,真的不用担心多少,足够暗;我做完后,会通过降低那层的不透明度来加亮它。下面,我在擦除设置中选一个大的,边缘模糊的刷子,设置到50%,去处掉在这个暗化的图层中我期望表现为亮的区域。就好想使用光亮涂抹。我将为最亮的边缘,用一下子提高到100%的擦除工具,我通常让眼睛部分尽可能明亮。我还将调整现在我处理的层的不透明度。
Not sure about the color of this sundress, actually, but here it is. 其实不太确定这夏装的颜色,不过它就在这里了。
图片十一:
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