1、直線網(wǎng) 本教學(xué)為翻譯教學(xué)，轉(zhuǎn)載請注明來自,以及注明翻譯者原教學(xué)出自CGArena網(wǎng)站，原始鏈接如下：B作者: Alex Ruiz, California翻譯：CWWS 請尊重互聯(lián)網(wǎng)道德，轉(zhuǎn)載請注明轉(zhuǎn)載出處和翻譯者，謝謝！Making of Mech Dragon Battle 電子龍戰(zhàn)的繪制流程I start the sketch in a very cool online app: , which really does emulate the splatter technique made popular by Pollock. And I like to start out my ima

2、ges in an abstract way, so this was perfect!我開始的時候是使用一個非常酷的在線繪圖程序開始畫草圖的，這個程序模擬波拉克著名的噴濺繪畫效果非常真實，我也喜歡以一種抽象的方式開始我的繪畫，因此這真是個完美的開始。Next I take the white out of the image using Levels. Then I start throwing down the random shapes that wrap themselves around this black blob thing. I used the custom shapes,

3、 the pen tool, and the lasso tool to make these shapes and the transform functions under Edit to manipulate them. I guess the point Id stress here is, its not about any one of these tools; its about understanding the form and volume, and knowing how to draw things around a form.接下來我使用Level工具去掉白色的局部，

4、然后我沿著主要的黑色形態(tài)添加隨機的形狀，我使用自定義形狀，鋼 筆工具，和索套工具來制作這些形狀，并且使用Edit菜單下的變換工具復(fù)制它們，我猜我需要著重說明的一點是，這和你用什么工具關(guān)系不大，重要是理解形態(tài) 和體積，以及如何圍繞一個形態(tài)來繪畫。Now Ive added a subtle color gradient to the background to give a sense of atmosphere. I also continue to add shapes and blue lights to this thing ( I still dont know what it is

5、at this point).現(xiàn)在我給背景添加了微妙的漸變效果，來增加一種大氣環(huán)境的感覺。我也繼續(xù)給這個“東西增加形狀和藍色的燈光到目前為止，我還是不知道它究竟會變成什么東西。I decide to add a human element to give a sense of scale, and a mountain range to give a sense of depth. Both were drawn quickly with the lasso tool, the filled in.我決定添加一個人體元素，來給場景一個正確的比例概念，以及一些山脈，給場景一些深度，這些都是使用索

6、套工具很隨意畫出來的，只要選擇再填充顏色就好。Now I duplicated the head of this thing, then construct its body that goes off into the distance, giving the image more depth. Ive also added tentacles whipping around, with claws on the ends of them.現(xiàn)在我把這個東西的“頭復(fù)制出來，然后往深處構(gòu)建它的身體，給畫面更多的深度。我還在身體周圍添加了觸須，在觸須末端還有爪子。Now the image sta

7、rts getting crazy! I really started to feel like the guys down below, frantically running around, trying to stay clear of this giant horrible fish thingy! But I persevere, the show must go on I flip the image to keep the process interesting, and its also a good way to find mistakes or flaws you woul

8、dnt otherwise see.現(xiàn)在畫面變得有點瘋狂了，我真的開始感覺畫面下部的人在四周瘋狂奔跑，試著逃離這條巨大的怪魚一樣的東西。但我堅持，演出必須要繼續(xù)，我把畫面翻轉(zhuǎn)過來，保持處理過程的有趣，這也是發(fā)現(xiàn)你原來看不到的錯誤或缺點的好方法。At this point I had gathered very interesting images of neurons ( yes, the ones in your brain) and placed them on the sides of the creature, as well as in front of it. For me, th

9、is suggested great energy within the creature, as well as a malfunctioning of some kind. Ive added more sharp elements to the tentacles, giving a more dangerous feeling to the image, and a guy running in from the left to enhance the action.這個時候，我搜集了非常有意思的的神經(jīng)細胞的圖片，是的，就是在你腦子里的那些細胞，并把它們放到生物的 側(cè)面以及前面。對我來

10、說，這暗示了生物強大的能量，同樣也顯示某些故障，我給觸須添加了更多鋒利的元素，給畫面一種更加危險的感覺，一個從左邊跑進畫面的 家伙增加了整體的動感。Here Ive widened the image for a more cinematic feel. Ive also flipped the image again and felt this was the best direction for the composition. And since we read left to right, it feels more comfortable to lead in at the left

11、 and have the climax at the right. I add more reds to the characters in contrast of so many dark elements, and hint at other characters on the ground.現(xiàn)在我把圖像加寬，增加更多電影的感覺，我又一次翻轉(zhuǎn)了畫面，覺得這是整個畫面構(gòu)圖最好的方向，因為我們習(xí)慣 從左往右閱讀，所以從左邊開始會讓看的人覺得更加舒服，然后到右邊進入高潮局部。我給角色添加了更多紅色，作為與這么多暗的元素之間的比照。以及在地面上 暗示更多的角色。And so on the fin

12、ishing touches, Ive added much more detail and texture. But the composition basically remains the same, as well as the action. Photo reference really comes in handy for the ground and the mountains, as well as some of the smoke, but its best to always keep to a minimum (unless its a matte painting o

13、f course.)如此直到最終調(diào)整，我添加了很多很多的細節(jié)和紋理。不過構(gòu)圖根本上還是保持原樣，動作也是如此。繪制地面和山 脈的時候，參考照片幫了大忙，讓事情簡單不少，同樣一些煙霧也靠它們，不過最好還是把對照片的依賴維持到最小除非你是繪制一幅matte painting作品。Also, a lot of things happened between previous step and this for enhance the lighting. I done this by setting the brush to color dodge, picking a darker unsatura

14、ted color, and lightly tapping at key interest points in the image. You never want to overdo it with color dodge, itll look like crap!同樣，在前一步驟到這里之間，還做了很多工作，來增強燈光表現(xiàn)，我通過把筆刷設(shè)置為color dodge模式，選擇一種較暗的不飽和色彩，然后輕微地在畫面的焦點局部繪制，你使用color dodge模式時不要做得太過頭，不然結(jié)果看上去很廢的。In the end, the large creature reminded me of a

15、chinese parade dragon all meched-out, hence the title. Some people see a giant fish, and others make out an entirely different scene in their minds. Thats exactly how I intended it! By leaving my images slightly abstract, it can become so many different things to anyone who sees it到最后，這個巨大的生物讓我想起了電氣

16、化的中國的飛龍，因此有了這個標題，一些人覺得這是條巨大的魚，其他人那么有完全不同的感覺，這恰恰是我成心的！使我的圖像保持抽象，它對于觀者而言，可以變成很多完全不容的認知。About the Artist The visions of Alex Ruiz range from dark and disturbing, all the way to vomit inducing cuteness and hilarity. In his paintings, the creatures of his thoughts crawl off the page and transplant themse

17、lves into the unsuspecting brain, hopefully taking residence there as well. Born in the Cuevas Negras( the Black Caves) of Hermosillo, Mexico, Alex began engraving murals on the cavern walls, and soon after, the walls of family and friends baby nurseries. To this day, he continues to explore the roads and depths of the heart and mind, especially the odd and strange ones, and bury the findings within his art. Alex is now a freelance concept artist/illustrator living in Los Angeles, California, lending his talents to the film, television, and