冰怪物設計概念

自1987年以來，我一直在為好萊塢動漫產業(yè)設計人物和動物，包括動畫片《阿爾夫》，《極限捉鬼敢死隊》，《哥斯拉》，《星際戰(zhàn)艦》:《粗暴的編年史》和《伊戈爾電影》。我的PS圖象處理軟件技術都是很基本的，因為我是自學的，一部分是因為我開始與PS圖象處理軟件十年前，當它是一個非常簡單的和強大的項目工作。
Since 1987 I have been designing characters and creatures for the Hollywood animation industry, including the Animated Alf show, Extreme Ghostbusters, Godzilla: Heatseekers, Starship Troopers: Roughneck Chronicles and the Igor movie. My Photoshop techniques are pretty basic, partly because I am self-taught, and partly because I started working with Photoshop ten years ago when it was a much simpler and less robust program. Old habits, you know.

The Ice Creature was requested by a producer two days after Xmas 2005; she was rushed and needed to have something to show an investor. So I finished the image in four days and was happy to stop at this point (Fig.01 - left side) and move onto the other creatures. However she then had me modify it for a further 10 days, tweaking such minor details as the ice spines. She wanted the image to look like a photo, so I added textures from elephants for skin and polar bears for fur (right side). Adding photographic textures was a new technique for me back then, and one that I've since improved upon. Because it was speculative work, I wasn't paid and my request to at least put my name on the artwork was refused. I never liked the changed version and so put the experience behind me. More than five years later I rediscovered the file and wanted to show my version to 3DTotal to see if it was a suitable gallery piece. I'm very grateful for the positive response; it has been a nice little vindication.
2005年圣誕節(jié)后兩天，制片人要求制作生物。需要給投資者展示一些東西。所以我在四天內完成了這幅畫，很高興在這一點上停下來(圖01 -左邊)，然后移動到其他生物上。然而，她又讓我修改了10天，調整了這些小細節(jié)，如冰刺。她希望這張照片看起來像一張照片，所以我增加了大象的紋理和皮毛(右側)。添加攝影紋理對我來說是一種新的技術，而我之后已經改進了。因為這是一個投機的工作，我沒有得到報酬，我的要求至少把我的名字寫在藝術品上被拒絕了。我從來都不喜歡這個改變的版本，所以把我的經驗放在后面。五年多以后，我重新發(fā)現了這個文件，想把我的版本展示給3DTotal看它是否是一個合適的畫廊。我積極響應非常高興；這是一個很好的小的辯護。
I began with a pencil sketch (Fig.02) which I scanned into Photoshop. I changed the layer to Multiply and color adjusted it to purple.

我開始用鉛筆素描(圖02)掃描到Photoshop。我改變了圖層，將顏色調整為紫色。
On a new layer underneath I used the Pencil tool to create what I call a selection layer (Fig.03 - top left). I had Anti-Alias clicked off on all of my selection tools: Wand, Lasso, Marquee and even the Paint Bucket tool so that there wasn't any bleeding. I started with the big shapes, like separating the creature from the rock with two colors, and then selected the creature's color and blocked in the details. Here is how the two layers looked as I worked on them (top right). On a new layer I started to figure out the highlights. I didn't use any special brushes; in fact, I was still using the Pencil tool at this point (lower left). On a new Multiply layer I roughed in the shadows using the Brush tool, the basic one with hardness at 0%. I probably had the opacity at 70% to build it up (lower right).
在我下面的一個新圖層上，我用鉛筆工具創(chuàng)建了一個選擇層(圖03 -左上角)。我在所有選擇工具上點擊了反別名：Wand，Lasso，Marquee甚至Paint Bucket工具，以便沒有出血。我從大的形狀開始，就像用兩種顏色把生物從巖石中分離出來，然后選擇該生物的顏色并在細節(jié)中被阻擋。下面是我在上面做的兩層圖(右上角)。在一個新圖層上，我開始找出最精彩的部分。我沒有使用任何特殊的筆刷;事實上，我還在使用鉛筆工具(左下)。在一個新的多層圖層上，我用畫筆工具粗略地畫出了陰影，最基本的一個是硬度為0%的。我可能有70%的不透明度來構建它(右下)。

By this stage I had the background color already established. I began with a simple two color gradient for the sky and then blocked in the basic colors for the mountains, using the Pencil tool (Fig.04 - left side). To push it back I Gaussian blurred the whole thing and smudged it a little to suggest wind (right side).
到這個階段我已經建立了背景色。我開始用一個簡單的兩色的天空漸變，然后用鉛筆工具(圖- 04 -左邊)在基本的顏色上擋住了山的顏色。為了把它推回去，我把整個東西都弄模糊了，并把它弄臟了一點，以表示風(右邊)。