制作永恒（国外CG教程，头像制作过程） / 精品教程 - 中文汉化|专业汉化网站

离线中国龙

楼主发表于： 2011-07-25 只看楼主倒序阅读

举报

0F

中国汉化网提醒您：

如转此帖，须经本站同意，另外请认真阅读《本站论坛管理条例》！

关键词： CG教程教程

In this walkthrough, I would like to share with you my process for creating my original character portrait, “Forever”. I’m using Photoshop CS4, but the methods used here can be adapted to other painting programs as well. I hope that you may find it useful!

I always begin my artworks with a sketch- be it digital or traditional media. In this case, I start by opening a scan of a sketch I drew of a character in my sketchbook into Photoshop. I also create a new document with the dimensions set that I would like for my final, completed image to have. In this case, the dimensions are set somewhere around 3400 x 5900 at 300dpi. I duplicate my sketch layer to my newly created canvas. The sketch now is quite small compared to the canvas area, so I use CTRL+T or Edit > Free Transform to resize the sketch to fill up the canvas. I duplicate the sketch layer and set its layer mode to Multiply.
Now that I have my sketch layer set up, I move on to painting in grayscale. To do this, I make a new, normal layer underneath the Multiplied sketch. I pick an almost black, a medium gray, and a light gray as my basic tones to work with. I always start painting with the mid-tones first, so I use the medium gray and fill the entire canvas with it as my base.
I’ve chosen a simple, overhead light source, so working with shadows next, I paint them in accordingly with a hard round brush. The sides of the face, under the eyes, the nose, the lips- this is where the majority of the shadows are. It sometimes helps to set up a similar light source near a mirror and notice where the highlights and shadows fall on your own face. At this stage, I’m not very particular about my brush strokes, only the form, so no worries if it looks messy. After painting in the basic shadows, I use the light gray to block in some highlights, especially on the forehead, cheeks, nose, and chin where the light would be most concentrated.

Since the basic form is taking shape, I make a new layer on top of the Multiply sketch layer and leave its blending mode as normal. I take some time here to detail the form a little more before moving on to coloring by adding some wrinkles around the eyes, between the eyebrows, adding the neck and chest, etc.

Now that the basis for the character is completed, it’s time to move on to the coloring part. I merge all of the layers together, and create a new layer on top and set its blending mode to Color. I pick out some simple flesh tones for the skin- I stick with more saturated colors for the shadows and lighter, less saturated colors for highlights. Using a soft, round airbrush, I go over the entire character to colorize. I also block in some pink on his lips. I want a dark color for the background. So, I make a new layer and set it to Multiply. Using a random color of blue, I go over the entire background. The dark background makes the character stand out more since there’s so much highlight focused on his face.
The basic form and color is now complete- and the detailing begins! I want the skin to look much textured, on a new layer; I go over the exposed parts of the face with a spackled brush using a slightly lighter skin color than the mid-tone. Afterwards, I do the same with a darker color. I repeat the process until I’m satisfied with the results, which should resemble skin pores.

分享到

新浪
QQ空间
QQ好友
扫一扫分享到微信

离线中国龙

发表于： 2011-07-25 只看该作者

举报

1F

After the skin is finished, it’s time to tackle the beard. I make a new custom brush for this- just a few random lines with Scattering and Opacity set to pen pressure. It’s instant facial hair! I just brush over the bearded area with this brush using a dark brown color. Then, I go over it again with a slightly lighter shade, paying attention to the light source and applying in areas where light would fall. I imagined the character as middle aged, or somewhere close,

so I decide to add just a hint of gray in his beard. So, just choose a gray color and lightly add in some gray hairs using the facial hair brush.
Now that his skin and beard are mostly finished, I move on to the facial features. I start with the lips- I don’t know why, but I always tend to detail the lips first. :)
I make a new layer, and I go over the lips with a small, hard round brush with the brush setting’s Opacity set to pen pressure. I just try to create some texture here, color picking lights and darks to create the lines in the lips. I gave him a scar on his lips too, which I highlighted with a bit lighter pink to underline its rigidness.

For the eyes, I color pick a shadow and a mid-tone color from the already finished skin. I brush over the skin around the eye to build the shape that I already defined in the sketch layer. I use shadows in the crease of the eyelid and under the eye,

and the mid-tone to define the protruding shapes of the eye, and inner edge of the bottom lid. Using these two colors, I also enhance the wrinkles around and underneath the eye. Now that the area outside of the eyeball is prepared, I use a gray mixed with the skin tone to paint in the whites of the eyes. (Make sure that the brush strokes are smoothed here!) Afterwards, I use a dark brown to color in the iris of the eye and a black in the middle for the pupil.

I go over the inside of the iris again with a lighter brown, and using a small hard round brush, I paint lines in the iris directed from the pupil to the outside edge of the iris. For a more natural effect, I do this a couple of times with various hues. Lastly, I paint in some very pale blue highlights on the pupil according to the light source direction.

The hair is very easy- just take the same small hard round brush from before, and paint the short strokes radiating from the back towards the front, near the forehead. It helps to use the darkest colors first, and gradually apply the lighter colors on top. I usually do several layers of strokes for good volume. To finish the hair, I use a blue color around the top outline of the head and make small strokes just as before. I continue with a few random hairs, which disappear as they near the front of the face.

For the ears, I use the same method as before. A mirror could be helpful here, since the form of the ear can seem complex. Examine your own ear- notice the shape, the lights and darks, and apply your analysis to the painting process.
Now, all that’s left is the neck and chest. I color pick from the face and begin further defining the form. After the structure is well defined, go over it all with the spackle brush, just as we did to create the pore effect for the face.
The character’s face is now complete! Rejoice, and have a chocolaty snack. :D
The chest hair! I had a lot of fun with this part :)

离线中国龙

发表于： 2011-07-25 只看该作者

举报

2F

For this, I made another custom brush- It’s just a quick stroke of an incomplete circle, and using the Shape Dynamics and Scattering brush settings, it creates automatic chest hairs, haha. On a new layer, I use this brush across the innermost of his chest. Now, set this layer to Lock Transparency. This will allow me to only paint over the chest hairs that I already have on this layer. I pick a gray from the whites of the eyes, and using a hard round brush, I make wild squiggles all over the chest hair, creating a shine effect. After I’m satisfied, I merge the chest hair layer with the rest.

At last, I add in the “Forever” necklace. Make a new layer. By using the selection tools, I create the circle shape for the metal part of the necklace. I paint it in using a dark gray, and I highlight in dull blue and colors picked from the skin. I use the text tool to fill in the lettering. To finish off the metal, I like to use the Unsharp Mask. Adjust the sliders until you find a setting you like, and apply it. Next, I make the band, which is just a thick brown shape that continues to behind his neck. I add a highlight to the top edge of the band to make it appear thick and leather-like. Next, I duplicate this layer. Now, choosing the bottom-most of the duplicate layers, I set it to Lock Transparency, and fill the entire area with a color picked from a shadowed area of the character’s skin. I press CTRL+T for Free Transform, and grab the bottom edge of the transformation box, and pull downward slightly. This should make a shadow of the necklace. I apply the settings, and uncheck the Lock Transparency setting on the layer. I go to Filter > Liquify. In Liquify, tick the Show Backdrop box and set the opacity to somewhere around 50, or until you can see your layer and the one behind it well. Push the shadow into the concave areas of the neck and chest, where the shadow would be elongated- such as the crevice along the top edge clavicle and in between the pectoral muscles. When I’m done, I select OK to go back to my painting. I use the Gaussian Blur filter to blur the shadow slightly, and then I merge all of my layers together.

As a final touch, I add in an additional light source from the sides on a new layer- the right side being more dominant. I select a very (almost white) blue and go over the edge of the face, neck, and shoulders with the spackle brush. I avoid the beard using the spackle brush, but I use the facial hair brush there instead.

Now, I take a step back to look for major errors. I flip the canvas several times to help freshen my eyes. If there are errors, I address them with the paint brush or the Liquify filter.
That’s it! Thank you so much, and best of luck to you and your digital portrait painting!