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如何创建漫画页面

Comic page: How to create a comic page

+$This tutorial will show you how to create a comic page. Although we're using剪辑工作室油漆+$here, there's plenty of advice that can be applied to different数字艺术软件+$. My favourite part of working on a comic book is thinking through the script in my mind and considering possible alternate versions.

+$This example comes from an old project: a+$Torchwood Book跟随船长杰克和约翰在科技丛林星球上冒险的书。这是一个强大的动作页面,显示各种镜头,强大角色设计+$and some good texture rendering (for more inspiration, take a look at this roundup of the best网络漫画)。

+$You'll learn how to create a comic page, including designing the initial thumbnails, using references, and techniques for building up the page. Watch the time-lapse below for an overview of the creation process, or read on for a step-by-step guide.

每一页都是充满挑战和艰苦的工作,但却是非常有益的,所以总是试着推动自己,最重要的是要有乐趣。

下载一组自定义画笔本教程

01.阅读脚本

+$(Image: © Neil Edwards)

+$Once the panic attack from the scary white page has subsided, it's time to read the script. Identify moments that stand out in the text for each panel, looking for dynamic and clear storytelling events to move the story forward effectively. It's a good idea to make thumbnails as you read, and jot down any references you might need.

02.制作预言

+$(Image: © Neil Edwards)

+$At this stage it's vital not to be precious over what you put down, because nothing's set in stone. Rough out the prelim very quickly, ignoring anatomy and rendering, then work over it – bearing in mind where the speech bubbles are going to be placed.

03.汇总参考文献

+$(Image: © Neil Edwards)

+$The script calls for lots of vegetation, so I start researching vines, jungles, mushrooms and fungi. I usually pencil up some references during this early stage, to give me an understanding of how to make the environments fit and feel right within the page.

04.阻止你的角色

+$(Image: © Neil Edwards)

随着预审的批准和一些讲故事的元素的完善,现在是时候开始概念图。我使用框架工具绘制面板边框,然后使用默认的基本Darker Pencil画笔将图形作为轮廓阻挡。这给了我正确的角色质量。

05.在下图中添加细节

+$(Image: © Neil Edwards)

一旦我对图形的位置感到满意,我就会创建一个新图层并敲回剪影,修复我的中心线和解剖结构。我再次使用基本的深色铅笔刷。在对所有元素进行粗糙处理后,我可以开始对它们进行细化。

06.开发线条艺术

+$(Image: © Neil Edwards)

+$Once you're happy with the proportions and placement of elements on the page, it's time to create a new layer and work on the proper drawing. I start by using my custom Ink Pencil line brush and put down the line work that I want to eventually work over. During this stage it's important to work lightly, but include some basic rendering and lighting wherever possible.

07.识别错误

+$(Image: © Neil Edwards)

+$Once you've wrapped up the line art, cast your eye over the page, looking for elements that need amending. It can help to flip the page to see what mistakes jump out, then take a couple of notes before correcting them. Remember that even at this stage, nothing is set in stone.

08.增加线条的重量

+$(Image: © Neil Edwards)

下一步是增加线宽并使用我的自定义墨水笔刷将流量引入绘图(我真的应该想出一个更好的名字!)。该线应该定义角色的光源和重量,所以要小心,线条不会看起来平坦和无特色。

09.在场景中添加一些细节

+$(Image: © Neil Edwards)

仍然使用墨水笔刷(我知道,我知道),我开始在细节元素中添加选择性线条粗细和阴影。旨在提示您的线条,而不是过度渲染事物,并避免填充页面太多细节。请记住,缺少某些东西可能与其包含一样有效。

10.进行更正

+$(Image: © Neil Edwards)

看完页面后,我觉得我对约翰船长的头部不满意。我在新图层上勾画出替换,然后细化表达式。在此阶段参考可能很有用,因此请考虑使用镜子或用手机拍照来帮助捕捉所需的外观。

11.注意细微的因素

+$(Image: © Neil Edwards)

与步骤09中的碎片元素一样,我小心不要过度渲染页面上的小数字。特别是,当场景后退到背景中时,我会看到线条重量。使用轮廓和强阴影也可以帮助定义较小的角色。然而,这是一种平衡行为 - 如果画得过于巧妙,那么较小的角色可能会在背景元素中迷失。

12.使解剖学看起来自然

+$(Image: © Neil Edwards)

我对约翰船长的双腿也不满意:他们在我的初始布局中遇到了一点点奇怪,所以我以更平衡的姿态再现它们。始终致力于让你的角色看起来充满活力和自然,而不是僵硬。我也改变了较小角色的立场,以便它们更适合背景的视角。

13.带来纹理元素

+$(Image: © Neil Edwards)

使用Clip Studio Paint强大的纹理和交叉阴影笔刷,我添加烟雾和空气碎片元素,为页面提供更大的密度。我还添加了徒手交叉影线,为场景带来更有机和传统的感觉。最后,我向背景介绍了一些植被细节,并在面板一中引入了几个光源。

14.最后的改进

+$(Image: © Neil Edwards)

随着页面差不多完成,我在底部面板上完善了约翰船长的脸,并在后台添加了一些更多的徒手交叉影线。然后我转到右上方面板并绘制能量波。一旦我对页面感到满意,我将其输出为500dpi的灰度TIF,然后折叠回我的椅子。唷!

本文最初出现在第149期ImagineFX,世界领先的数字艺术家杂志。在这里订阅

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