作者：阿龙

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　　【介绍】

　　这个夏天当《变形金刚》被搬上大荧幕时，它立刻席卷了世界各大影院的票房，受到了全球观众的瞩目。我为了获得更多场面创作的灵感，也成为了这部影片的“常客”。而其中最让我叹为观止的就是那一个个活灵活现的变形金刚了，同时我也从它们身上得到了一些想法。当然，这对于一位创造者而言是至关紧要的。因为这些画面会在他们的脑海里勾勒出一幅幅图像，进而使他们来判断这些图像是否可以制作成一个优秀的作品。
　　我想要创建一个即充满张力又富有戏剧化的场景，就像是电影里那令人震撼的场面一样。最初，我被中国的出版社邀请，他们让我把这些内容制作成杂志。但是后来我又在这的基础上对作品进行了修改，就变成了你们现在所看到的效果了。

【概念与构思】

　　在最初策划的时候，我想制作一个可以立刻吸引观众眼球的爆炸时打斗场面。因此，我开始勾勒草图和设计动作。由于我第一次设计的动作并不理想，所以我决定重新构思一些合成的动作以及建筑物。我希望把这些建筑物设计成传统的感觉，就像是博物馆那样，因为这样可以在高尖端机器与古典图像之间产生一种强而有力的对比。

　　在电影里，威震天被描述成一个毁灭者，擎天柱则是一个捍卫者。因此，在抵制攻击时如果擎天柱被安排在距离镜头很近的地方，就会制造出一种“想要保护观众”的感觉。
　　我设想：威震天从爆炸的地点冲了出来，并迅速的朝擎天柱发起了攻击。同时，擎天柱也蓄势待发准备回击；他举起拳头，身体向前滑动，这时脚与地面之间因为摩擦而产生了火花，他要给威震天致命的一击。这个合成的重点在于，它需要营造出一个带有戏剧性与情节性的完整框架。
　　为了增强场面的急迫感，我选择了一个类似基本透视图（basic perspective）的颈向成分（radial composition），整个效果看上去就像真实的一样。

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　　【着色&过程】

　　在考虑天空的颜色时，我花了很长时间，而且即使在决定了以后也更改过无数次。最初，天空是蓝色的，然而经过多次调整之后，现在天空的颜色变成了使整体色调更加协调的黄色。我试着提高整个画面的亮度，这样可以将灯光做得更好一些，因为每一个物体的反射都会影响到灯光和颜色。所以，在决定颜色时一定要考虑到整体环境的效果。下面就是整个图片的制作过程。
　　首先我修改了一下草图，然后我用笔刷模式下面的“颜色”为草图添加了基础色，这是为了创建颜色的基本色调。

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　　之后，我又给擎天柱和他右侧的建筑物添加了更多的细节。而且对擎天柱脚下的位置我也进行了处理，以保证他的脚部可以清晰地呈现出来。同时，我为右侧的大楼增加了亮度和对比度以使它们更加的清晰。

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　　为了给图片增加更多的纹理，我添加了许多笔刷的技巧，就像是雾或是灰尘的样子。这样看起来更有战场的感觉，而且从视觉上来欣赏，也更有距离感。图片中心的位置应该被扩展得更大一些，因此我将擎天柱和威震天稍稍向右移动了一些。同时，我再一次加强了整张图片的对比度，来提高亮度。

制作擎天柱时最大的困难就是在和原著相比较的基础上如何处理我作品当中人物的外貌。想要将擎天柱制作成与原著人物如出一辙，真不是一件容易的事情。我在网上查找了很多资料，有的是将电影中的照片发布到网上，有的则是设计了他的升级版。但是这些材料都用在不同的布景当中，因此它们有很多不同之处。例如：擎天柱的头部和手臂就有好几个不同的版本。所以，我需要从中挑选出从设计角度上看来最合适的一个，当然，我也添加了一些装饰。在擎天柱完成以前，他的手臂经过了无数次的调整。
　　我拿来了两张图片来进行对比，左边是设计之前的图片，右边是之后完成的。最初擎天柱看上去的效果并不像我所想象的那样，那时我真的很困扰，因为有很多的问题是需要解决的：
　　首先就是外表。擎天柱的轮廓是很重要的一点，因为它决定了这个模型看起来是否更像擎天柱。他左侧的腰和大腿需要略粗一些；他宽阔的肩膀，精壮的腰部与大腿之间要形成了一条曲线；他的耳朵似乎短小了一些，所以在右侧的图片里我做了一些修改，使他看起来更与原著相似。
　　其次就是灯光和阴影的部分了，阴影需要有效的将主要人物从背景之中烘托出来。我故意将擎天柱的左侧涂成白色，是为了将他突出。与此同时，我不但为他制作了一个三维的样子，而且还在他身上添加了一些金属的色调。这时我还需要注意他脚部反射的效果，这也是另外一个重点。原来的头部太暗了，因此我添加了一些亮度，这样它就可以和爆炸产生火焰的光亮形成更大的对比。从而也使他的头部看起来更加的明显。擎天柱胸前的镜片需要有一个比较明亮的反射，因此我加强了胸部的对比度，使它形成更好的透视效果。

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　　【修改细节】

　　在制作细节时，我使用了很小的笔刷来图画金属上的伤痕，添加了一些污点以使物体看起来更加的真实。然后再用笔刷将物体填满，使图片变得更加的丰富，同时也可以吸引观众的眼光。在一般的情况下，我只需要使用几种默认的笔刷就足够了。在火花的部分，除了使用小的笔刷来绘制跳跃的火星之外，我还利用它来绘制一些微小的点，进而产生一种溅散的感觉。

　　【最后的调节】

　　为了使布景看起来更有紧凑感，在最后我改变了爆炸的形式和威震天的动作。他现在看起来更像是从火焰之中弹出来一样，这样他与爆炸的场景就可以联系起来了。在灯光与阴影的部分，我加强了在建筑物左侧火焰的反射度，使它可以同时带动颜色与环境，令整个气氛变得更加的协调。和以前相比较，现在图片整体的饱和度变得更加的完美。这就是制作的全部过程了，谢谢大家的观看。

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灵感

读过“The Enchanted Pig”后，我便画出了里面的主角——一个年轻的女子在旅途中经历各种艰辛考验，终于找到自己的丈夫（被魔法变成了猪），并把他变回人形。在途中，她必须穿着铁鞋，拿着铁杖以接受考验，甚至在旅途中还要照顾自己的孩子。

一幅画不能表达整个故事，但通过画中的碎骨、小刀、婴儿、绷带、铁鞋等等元素，肯定能引起读者的好奇和兴趣。女孩勇于面对困难的精神是激发我创作灵感的主要来源，而如何通过画面表现出角色坚强的性格是一个很大的挑战。我构想中的女孩迈着大步、表情坚定、眼神中没有痛苦抱怨，没有被自己面对的困境击倒。

草图

我做了一系列的局部设计，并根据这些设计汇总成一张完整的草图。这也是我一贯的创作方式，与严谨的铅笔线稿相比，局部的设计草图能够更好的激发我的灵感，而且也便于中途的修改。完整的设计图出来后，我会把它扫描入计算机，然后利用计算机中的各种强大工具进行进一步的加工。

大体上色

在 Photoshop 中，我先建一个简单的调色板，线稿层用 multiply 模式放在上面，下层用套索工具建立选区并填充上大块的颜色，通过颜色的色调来体现画面的深度和透视，以强化女孩的动作。

粗绘

我从大块简单的区域开始画，先建立整体的颜色搭配，然后再通过加入阴影生成立体感。我创建了一个简单的光线投影参考，以保证阴影投射在透视上的正确。

头饰

我认为女孩的帽子对于塑造这个角色的性格非常重要。我尝试了多种风格，最后确定了一种古老的无边女帽，给人一种“美国乡村女性”的感觉，非常符合角色所处的环境。

笔刷和绘画

一般情况下，我只使用一到两种笔刷（80% bleed、20% resaturation、100% opacity），通过调整颗粒和尺寸来得到不同的笔触。另外我还习惯定期在 Photoshop 中调整颜色和对比度。

bleed（出血）和 resaturation（去色）是和笔尖的粗细紧密相关的属性，这意味着我拿笔时越用力压，笔画就越粗越重，反之越轻，拖尾就越细越淡。在这幅作品中，尽管主题很沉重，但为了照顾小读者欣赏，光线和阴影处理的还是比较松散。

我对女孩右臂的位置作了一定的夸张修饰，以表现她迈着大步，充满了决心。

路上的碎石

我想画一条石子铺成的小路，添加上一些有趣的装饰。路面的绘制分为三步：1.绘制大块的颜色和石块。2.添加小石块。3.绘制高光。

图案

婴儿的围兜最开始画的时候没有任何图案，而是在之后用 overlay 层添加的（我一般很少分层画）。

面部表情

我把女孩的表情流到最后来画，要表达出正确的形态很困难，我不断的尝试各种版本，花了好长时间才确定了右下角所示的样子。

最后调整

画完后，我把婴儿放大了一些，并在图案中添加一点黄色，使其更加陈旧自然。

作者介绍：

虽然我学的专业是雕塑，但工作大部分是负责游戏的2D/3D角色设计、插图和动画。起初我很喜欢使用3D软件进行创作，但现在却对风格强烈的2D手绘更感兴趣。软件方面我使用 Corel Painter 8 和 Photoshop。

弗朗西斯(Francis)让我帮助他写一篇关于透视图的教程，我打算在暑假写书的空闲时间再在这篇文章里添加一点制图的教程。所要添加的内容也没什么特别之处，只是一些基本的几何构建、从里到外的剖面绘制和镂空的木模图。

七年教授工业设计绘图的经验，告诉我有两种基本的绘图方法。第一个是观察一一画你所看到的，第二个是创造一一画你没看到过的。有许多学生，他们能够通过观察再绘画，然后，当我要求在一块空白纸上画他们自己创造的物体时，他们却没有绘制的策略。由于我是学工业设计的，不是专门学绘图的，因此在过篇教程里我将根据现在的透视画法来进行讲解，你可以参照着来学习。

观察和创造这两种方法，在制图方面有很多的变化。观察法的好处在于，你可以忽略实际物体的体积和透视，把它看作平面的图形来画。在这种制图方法中，有很多还是可以作为创造法制图的借鉴，像线条、合成和描影的技巧等等。通过一些简单的技巧练习，创造法的透视绘图也能够取得很好的效果。

首先，你需要线条走向方面的知识，这一点可以通过阅读正确的技术上的透视结构并加以练习来学会。其次，你需要用学到的透视绘图知识通过适当的点把线正确地连接起来，包括通过空白纸上的两个或更多的点绘制直线和曲线。一旦你掌握了这些，你也就掌握了创造法透视绘图的两个主要因素。这里有好几本相当有用的关于透视绘图方面的书，一本是由John Montague写的Basic Perspective Drawing(《透视画法基础》)ISBN 0471292311,书里有很多技术信息，你需要利用它们来进行复杂的手绘图。

透视剖面图救程1

下面是一个诱视图的简单结构，这里我我尽量把它分成十步来讲解怎样通过手绘草图来准确画出一个图形。

第一步
a 依据你要构造的形状，建亚一个精确的透视网格。这一点我就不着重叙述了，
这倒不是因为它看上去很简单，事实上非常困难，许多学生非常认真地作出正确的参考线去创建透视形状，正w完成这步，这样你就有了一个非常好的构造基础。

b 不要担心相对于投影缩减的线条的位置。注意向同一方向的线条要精确的集中于消失点上。
c 记住，平行线趋于同一消失点。

注:
如果你没有一面一面的画出盒子正确技巧(或者下面的的参考线，它们用来辅助你建造盒子)，我将劝你不要更进一步的学 习，我知道这很麻烦，但是请相信我，学习的时候，一遍遍地在不同的视图里练习画它们，这样你就会打下坚实的制图基础，并给人留下深刻的印象。

第二步
a 画完参考线后，定义一个x,y,z三维平面，并在一个平面上绘制曲线。这里我已经在中间平面上画了一条曲线，用以构造基本外形。
b 记住，你是用这条线来设计侧视图。

第三步:
a在x平面的顶视图重复步骤二中的a
b我们只建造了外形结构的左边，不要将顶视图中的线条镜像到较远的一边

第四步:
a 当你完成顶视图和侧视图中的线条设计后，接下来进行前视图的剖面设计。
b 开始添加前视图剖面，可以是简单的矩形，沿着参考线和顶视图的剖面相交。
c 在水平参考线和z平面的中心线的交汇处画一条竖线，还有，如果你想画更多的的前视图剖面，或者想画到准确的位置，就在z平面多画一些水平参考线，并在合适的位置相应画竖线。
d在竖缕和中间平面曲线的相交处，画水平参考线，这些参考线构成了各个剖面的上面的边线。在水平剖面线和z平面曲线相交的地方，画竖直参考线，它们构成了剖面的左边线。

第五步:
a用自动透视收缩的方法镜像z平面的曲线到另一边。
用自动收缩的方法镜像一个点的步骤。
1.以中线和a点为两个角画一个平面。这个平面的比例没有关系，但是画的越接近正方形，构造起来越容易。
2.用x形直线把这个平面分割以找到中心点。
3.通过画一条指向右侧消失点的水平参考线，把这个中心的点移到平面的边线，现在你得到这条边线的中点。
4.从左上角开始，穿过刚才竖边线的中点画一根线。这条线和水平线的延长线的交点就是a的镜像点。
b剖面顶部的参考线画法和在第3步演示的在底部画法是一样的，如果在顶部镜像你的点，你需要将镜像点竖直向下转移到底面来确定底边的镜像点。

第六步:
a镜像了全部的点以后，你需要画出z平面另一边的曲线，通过这些点画出曲线，这时你已经成功的在透视图中镜像出一条曲线。

第七步:
a现在把离我们较近的剖面延伸到远离我们一边。重复步骤四a到d.

第八步:
a用左侧的那些剖面，沿着结构从前到后，再每个剖面上画出你需lw的前视剖面图。

第九步:
孔通过x(前视图)剖面镜像多个点，这一点很难掌握，尽力保持画面的整洁，不要太杂乱，这样你就不会迷失在那些移动的点中。只要你勤加练习，看起来就会更简洁，做起来也会更快，实际上我已经设置了超过我需要的x剖面。
b　在镜像之前，你可以使用很多种不同的方法，从较近一侧的剖面到较远的一边来绘制这些点。我喜欢从远处剖面曲线不太显而易见的地方来找出那些点。比如，每个剖面顶部的附近。我使用“x盒”方法和简单的对角线方法来找到我的点。

第十步:
a定义好所有的剖面之后，我们准备开始结构的轮廓部分。通过所有剖面的曲线画切线，绘制轮廓线。
稍后我将要给你们介绍描影的方法，这样你就可以展示这个物体使用价值了。这里有一个例子，其中的剖面信息对于渲染中心 阴影和投影都是很有帮助的。

这只是绘制诱视构图的一种方法，用这种方法还可以绘制更复杂一些的结构

绘制椭圆
剖析椭圆:
当从某个角度看圆时，我们看到的就是一个椭圆。我们把这个观看角度作为椭圆的角度。在助度视角处，我们看到的是一个正圆，而在小于助度时，我们看见的是不同角度的椭圆，这样到最后我们就会看到一个。度的椭圆(即一条雇彩美)。理解这种画椭圆的技巧并不难，但要掌握椭圆的绘制方法就不容易了。对于一个椭圆来说，它有两个轴:长轴和短轴。短轴通过最短的路径把椭圆分成两个相等的部分;长轴经过最长的路径，把椭圆分成两个相等的部分。长轴和短轴是垂直相交的。如图e一1所示。

那么，怎样利用长轴和短轴来绘制椭圆呢?

如图e一2所示，椭圆的外面有一个外切正方形，画完正方形后，通过画正方形的对角线来找到它的透视中心，通过观察椭圆的长轴和短轴，我们发现，椭圆的短轴经过这个中心而长轴则不经过。我们也发现椭圆.洽好与正方形的每条边线的中心相切，这恰好是我们期待的。这样我们得到一个对称的形状，椭圆，并将它放在透视图中。只要你始终在可允许的失真范围内制图，它就一直起作用。如图e一3所示，不管椭圆是旋转还是静止的，我们都能得到同样的效果。从观察获知，在画椭圆的时候，长轴和短轴起了相当大的作用。由于椭圆的短轴一直经过正方形的中心，我们可以利用这一点来获得帮助。这也正是当初我不推荐用长轴来绘制椭圆的厦因。

[CGERCN-PAGE]

不断的练习画椭圆，不要担心透视上的定位。我有几个例子是在今天早上用不同的大小和不同的角度画的几个椭圆。画完椭圆后，画一条穿过椭圆最窄处并把椭圆分成两个相等的部分的直线，来确定椭圆的短轴。

沿着短轴折叠你的椭圆，正确的话，两半椭圆刚好能重叠，否则不能。如图e一4所示。

如果你对所画的椭圆感觉良好，你就可以对短轴进行精确定位，然后开始对椭圆进行透视上的定位。刚开始的时候，先画一些简单的直线当作椭圆的短轴，然后尽量画不同大小和角度的椭圆。这一点比先画椭圆再确定短轴要难。然后画两条会聚的直线，再画椭圆，使椭圆与每条直线相切。最难的一个练习是先画亚方体然后在每个面画椭圆，使之与每个面的边线相切，就像我们在e一2和e一3中那样进行绘制。此外，画同心的椭圆也不失为一种很好的练习。

你可以利用参考线来修正你的椭圆，但是不要进行勾画，我发现这么做的效果很不错。
你最好放弃利用参考线来进行透视设计，而进行徒手的透视布局设计。如果你经常练习，你将发现你的徒手制图的能力会大有 提高。较好的线条质量和正确诱视的徒手素描，将让你有一种成功的满足感。

怎样检查你画的椭圆正确与否。
明白椭圆的结构是很重要的，只有这样你才可以在画完后再来调整它。有两种基本的方法来检查椭圆画的是否正确。短轴和消失点。

首先，检查短轴是否正确，车轮在车上的时候，短轴通常在车轴的位置。在大多数情况下，车轴与车的中心线是垂直相交的。因此，这个椭圆(车轮)的短轴与车的中心线也是垂直的。也有一些情况，当前轮转向，或者车轮的建亚的时侯是用拱形，使得前轮不再和车的中心线垂直。另一个例子我们经常见到，飞机上的螺浆的短轴和机身的中心线是平行的，因此他们趋向同一个消失点。一定要记住，诱视绘图时，所有的平行线是趋向于同一消失点的。

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椭圆的角度
如果椭圆的短轴是正确的，然而椭圆看起来仍旧不正确。那么只有一个原因一一角度。在调整椭圆的角度之前，短轴必须是正确的，因为对一个不正确的短轴来说，度数怎么调整都无法弥补错误。检查角度是一个简单的诱视工作。

第一步:
画一个方框，确保椭圆与方框的每个边都相切。而且一定要参照参考线来做。

第二步:
观察你所画的椭圆与方框接触的地方，如果椭圆没有接触到方框的每条边的中央，那么椭圆的度数是错误的。通过调整椭圆的宽窄来调整椭圆的度数，直到椭圆周围的框线的各边中心能.洽好与椭圆相切。这样，你就能画出角度正确的椭圆。
这里还有几张草图，我很快把诱视参考线画出来，帮助你在图中看到椭圆的短轴。

搞一个小教程

1.开始做黑白稿，软件是PS，画布大小和分辨率我自己是无所谓的，够用就行,开始速度快了点，有些乱，我用的是扁平型的笔刷，这种笔刷有很多好处，可以很快速的塑造出一些结构，而且画上去有种很跳跃的感觉刚开始用需要习惯一下~

2.深入了黑白稿，把重点定在了头部和手部，其实很多小结构都是无意中画出来的，这种笔刷的随意性很高，能经常给你惊喜~把背景压下去，突出身体，要始终控制画面的整体气氛~

3.开始上色，新建图层，将属性设定为叠加，选你喜欢的颜色可以涂了~这回用的是比较柔软的笔刷，主要是给一个整体的色彩方向，不过颜色不会盖住白色的地方，会显得亮部很“爆”所以我在两个图层之间加了一个正片叠低的图层，用些颜色把亮部压下去，把黑白搞的对比度调低些也可以~这部完成了以后这张画基本就完成了70%…………（说明一下，个人不是很建议正在学习中的朋友用这种上色方法，虽然上色速度变快了，可是这毕竟是个偷懒的方法…）

4.合掉所有图层，新建图层添加细节，用回扁平笔刷，这个没什么要说的了，还是要控制整体感觉和气氛~

5.最后深入~有些觉得不舒服的形体做了改动，背景简单的画出火和烟的效果，不要抢了角色，最后调下色阶~就基本完成了~回头看一下第一张觉得好恶…（朋友说我这是“放射”型画法，我完全同意…）

第一次做教程，主要是交流，希望大家能多提些意见，小的一定会虚心接受地~~~画面颜色不多，内容也不够丰富，而且最要命的是和国外的一副作品撞上了……就算说我抄的我都没的解释，因为太…像…了……（画外怪的后果…）

Smooth Blending
This is a Photoshop specific tiny tutorial and I'm afraid I don't know quite how to achieve the same results in Painter... yet.

Thoughts on Skintones
This isn't so much a tutorial as a gathering of a few thoughts on skintones that I shared at CGtalk... first and foremost regarding one of my pictures, but for the most part, this is how I think when it comes to the various colours of skin. After a few requests, I decided to share this slightly (very slightly) edited version of what I showed them.

I've finally put together the tutorial that I did some time ago. I thought I'd share :)
Painting an Eye

The eye is probably the most catching thing about the human face. It's where we're looking when we're talking to people. It's where tears emerge from, it's where we indicate what we're looking at and often what we're thinking about what we see. If you're doing a painting and you do everything beautifully but you make the eyes look dead... then that's it, you've not painted a human, you've painted a mannequin. A dead thing.

Instructions: Let us start with a blank piece of paper, only make it flesh coloured instead. Picking a good first colour for skin usually has some impact on all the other colours one will pick thereafter - for this reason, it's always pretty vital to start off in a good way. Not too pink, not too orange, and not too saturated.
Common mistakes: Using a colour that is too saturated or too grey. A colour that is too orange or too pink. Try to find the middle ground, it will affect the rest of the painting.

Instructions: Secondly, sketching a really, really simple eye. There are some things here that people tend to forget. The first one is that there is a lid below the eye as well as above it. Without this lid, the eye will sit very unnaturally in the face. Secondly, we have the corner of the eye - you know, that small bit where the eye starts, where all the tears come from? Leaving these things out are among the most common mistakes when it comes to painting eyes.
Let's keep these 'sketch lines' on an entirely separate layer, on top of everything else.
Common mistakes: Forgetting the lower lid. Forgetting the corner of the eye.

Instructions: Next, we try to get the feel for the shape of the eye. If we shade the bottom eyelid, and highlight the upper one, we suddenly see something emerge. A flat eyeball will mess the entire eye up, so it is very important that we get the roundness through. But the truth of the matter is that the area surrounding the eye should be showing the shape of the eyeball itself. The eyeball is white and you won't be able to show much of its roundness because most of it is hidden, but by shading the lids you'll give the same message without making the eye look like it is bulging. I'm using a warm pink here to highlight, and a desaturated brown for the shadow. This will all change though.

Try to imagine that there are lines running across your face, showing the shape of it - it's sometimes hard to tell how the structure lies by just looking at something. Better yet, if you are ever inclined, paint straight lines running down your face and take a photo of it. You'll see that the lines look everything but straight when you look in a mirror - in fact, you might discover an entirely new way of looking at your own features (I once did this, believe it or not: it took a while to wash all the makeup off afterwards).
When you shade, keep these lines in mind. Don't paint them in unless you feel you absolutely have to (and if so, on a separate layer), but try to imagine them while you shade.
Common mistakes: Imagining the eyeball not as round, but as elliptic. Shading the surrounding area as well as the eyeball as if it is the shape and size of what shows, not what is hidden behind lid and flesh.

Instructions:So, first I'll build the area around the eye up. I do this by picking a highlight (in this case, the same one that I used for the eyelid) and I figure out where the light would fall.
People have different shapes of eyes, but a rule of thumb is that you'll have a soft, pillowed area just below the eyebrow (along the entire length, actually, though I've only highlighted part of it here - the other part 'pops' out because I've shaded below and above), one upon the cheekbone and then it'll always help to make the area just around the corner of the eye look a little less flat. Close your eye and gently trace the shape with your fingertips. You'll have the swell of the eyelid, the area below the eyebrow and then the cheekbone, right? Remember that an area like this is likely to leave a shadow below.
The problem here, of course, is that we're not painting the entire face - it's easier to fit an eye in when there is something to fit it into.
Common mistakes: Too stark shading. Using pure black or even lines to show edges.

Instructions: After this (watch the animation for, perhaps, a few more visuals on exactly what happens between these two stages), we need to define the areas that I only very quickly blurred in on the previous stage. I'm working with soft edged brushes here, all along. In some places, I'll shift to a custom brush that is round but has slightly torn edges.
Pick warmer, more saturated colours. You can highlight and shade by using colours alone. Work shadows into the eyebrow, but more importantly accentuate the eye itself by shading the lower lid more and also adding some shape to the upper lid. Again, touch your own eyelid (now carefully, keep your eye open), it sticks out a little but not too much. A common mistake is to make the upper eyelid look huge, and to forget the crease that shows that while you've got your eye open, the lid is slightly folded back.
Now, we're going to be tricksy. Instead of just shadowing with dark colours underneath the eye and accomplish a look like an alcoholic that hasn't slept for five days, we're going to find the shapes with a combination of highlights and shadows. Never forget that across the planes and curves of a face, the values will be flowing. You'll have light reflecting differently on the different types of skin (often oilier below the eyes, around the nose, moist on the lips). You'll have a few sharper creases (like upper eyelid) and then creases that soften out (like the one on the lower eyelid, which smoothens as it reaches the corner of the eye). A face does not consist only of highlighted cheekbones, nose, lips and chin - it has all kinds of hills and valleys, and however good you become at painting, it will always look flat, false, and fake until you understand these shapes.

Common mistakes: Accentuating all the creases and folds only with shadows instead of highlights.

Instructions: Trying to find shapes with a combination of highlights and shadows isn't always easy, but it's far more effective (to me, anyway) than trying to find it by using lines. For the most part, I won't even have the sketch lines here, they're merely here to demonstrate the shape of the eye as I build the face up around it.
Once more, accentuating the curves, planes and folds with a combination of lighter and darker areas. We're using no black, we're using no white. All variations of the same skin tone. Now - if you're clever, the highlighted area underneath the eye will have a slightly more bluish tone (as the skin here is extremely thin and the vessels underneath have a tendency of showing colour though), and use warmer highlights for the other parts of the face. If you pick the colours directly off this demonstration, you'll see that when I say 'bluish', I don't mean actually blue.
Taking a look, you'll see that in spite of the eyeball itself not having been drawn in, the eye already has shape!

Instructions: Having just said that the face has shape even without the eyeball, that doesn't mean we can skip it altogether, does it now?
Let's sketch it in. Don't use white, use a mix of pale grey-beige and then brush over with the skin tone - I've found that this combination very closely resembles the actual colour of an eyeball (the skin tone is generally reflected on the highly glossy surface). Do not add highlights to this eyeball yet. It's a waste to work in the glossiness at this point - it'll be painted over by the iris and pupil anyway.
What's more important, though, is that the eyeball's shape is consistent with the shading you've done on the eyelids. If you've been thinking right, it should fit right in. If you've messed up, the eyeball will look like a golf ball pushed into an ill fitting hole. Keep imagining the round shape of it, and if it helps, sketch the outlines of the round shape on a separate layer and then shadow the eye below it accordingly.
Common Mistakes: Pure white for the eyeball.

Instructions: The iris is completely round. For the most part, some of it will be hidden by the eyelid - if you hide only a little, the eye will look widened, shocked and staring (such as in the example I'm painting here), while hiding half or more will give the eye another expression altogether: perhaps indolent, seductive, sly.
Like the eyeball, never cease to imagine the iris as a round thing. To make absolutely sure, always paint the full round thing on a separate layer and then simply erase the bit that would be hidden by the eyelid. Like previously mentioned, we see the eyes, and we definitely see if something's messed up. A non-round iris will make it look alien and crooked - a neat thing if that's what you intended, but not so neat if you are aiming for a natural look.
So, pick a dark, random colour (nothing too extreme) and paint in the iris. Then on top of that, paint a lighter colour that will leave a slightly darker edge. Not all eyes have this darker edge at the outskirts of the iris, but we're settling for it this time around.

Similarly, the pupil is COMPLETELY round, no doubt about it. Paint in a round, dark circle in the middle of the iris. Just for the feeling's sake, dab a blotch of white on top of the iris and pupil, just to see how it would feel. There's the eye, suddenly a little glossy.
Common Mistakes: As previously mentioned, there is a tendency to make the iris less than round.

Instructions: There are no dark sketch-lines in a face, so it's time to get rid of them. There are two easy ways to do this - either you simply delete the layer, or you do as I did here: paint over them. I've found that painting over something rather than simply deleting it occasionally helps the liveliness of a picture. So for the sake of this exercise, paint over, don't delete.
What we have after we've done that is an eye that likely looks slightly messed up. We've used the lines as crutches, forgetting to shade the folds instead of letting simple lines do the talking. So the next mission is to do the highlighting and shading in the areas that are now looking stupid. For this, I use a brush that is either just a hard edged round one, or something similar to this:

(I've found that this brush is excellent to blend colours with, either as just painting, or as smudging)
Do not forget the fact that the bottom eyelid sticks out a little. It doesn't fit flat agains the eyeball - we need a little 'rim' to show that there's a shape to it and it's not just pasted in place. Paint this 'rim' (just above the lashes) with a vague pink colour slightly lighter than the skintone below.
Also, it might be a good thing to scribble the eyebrow in at this point, because once the lines are removed, chances are it looked like a dark blur. We'll fix it up more later.
Common mistakes: Leaving the lines in or mimicking them once they're removed.

Instructions: At this point, pick up a mirror. Look at the eye in the mirror, and notice that the white of the eye becomes pinker as it reaches the corner of the eye, and that the pink isn't entirely flat in shape right before the corner. We need a little glossiness here, a little colour to make it believable. A tint of blue added to the eyeball colour, and then some very soft, smooth touches of a round soft brush to pick out little highlights here and there. Most important here - be careful, chances are you'll overdo this area and end up with an eyeball that looks textured. This isn't the point. Point is, adding little touches of realism.
Also, redefining the shape of the eye at this point, and adding more detail to the eyebrow and the corner of the eye is almost a must. I've found that the realism is sometimes helped by further enhancing the shape of the corner of the eye by highlighting around it (take a look to the immediate left of it, you'll find a little highlight there). Try to work in more colours. Try to find little oranges, blues, reds and purples to discreetly add here and there for a more skinlike 'feel' to the area surrounding the eye.
This is where we start thinking about the iris, as well. The iris is a textured, wonderfully intricate thing and usually what makes an eye 'fly'. The first step to defining it would be just adding a very sloppy dark shadow at the top of it (from the eyelid, remember that it sticks out a little.
Common Mistakes: Forgetting to define the corner of the eye, or even leaving out that area altogether.

Instructions: Do a new layer. Set new layer to 'soft light', and paint with a dark, ruddy colour to emphasise the skin tone. This will make more difference than you know. Paying special attention to the eyelids (the lower one in particular) and the area underneath the eyebrow. There is a vast difference now that the skintones are picked up. This sort of alteration goes for any kind of detail in a face, especially the bottom of a nose, around the nostrils and the eyes, but also the corners of the mouth and the side of the nostrils.
In this step and the one before, I've smudged the eyebrows a little with the brush I previously showed.
Common Mistakes: Forgetting about skin tone variation. A face and all its details looks dead and flat without such small devices.

Instructions: Continuing on the skin tone variations around the eye, make yet another layer above the first one, and now add textures. Use a small brush with pressure set to opacity and shape and just scribble away. The eye in the example is slightly exaggerated, but the practice is the same. Skin is NOT just a smooth, polished-stone texture. It's not porcelain. Do not forget to at least hint at the texture and the pores, sometimes only with little skin tone variations. I'll happily say that I learned this from the 3D art forums - watching all these marvellous artists work on the skin textures, and then in the end asking myself: why didn't I think of that?
The good thing about keeping the texture layer separate is that you can use a soft eraser to make some patches more transparent and others more opaque, giving a lively, 'real' look to it. Add a few birth marks while you're at it.
Common Mistakes: Leaving the texture out altogether. Big no-no.

Instructions: Paint the lashes in by using a hard edged little brush with pressure set to size. Keep them just a little bit scraggly, and don't paint them too long. Keep them on a separate layer. (A good thing to keep in mind is that the lashes rarely sweep out towards the outer corner of the eye, as they are often depicted to. Most of them will be curving downwards quite naturally).
After this has been done, use a combination of a tiny smudge brush and the eraser to soften the sharpness of the lashes. Rinse and repeat for the upper eyelid, but in this case remember not to point the lashes straight up, as this has a tendency to look unnatural.
Common Mistakes: Painting eyelashes as unnaturally long, and forgetting to taper them off at the end. Even worse, forgetting about the eyelashes altogether for a creepy-eyed look.

Instructions: We're getting there! The iris is a plethora of textures. If you pick a mirror up and stare at your own eye really closely, you'll see that it's not even just the diamond shaped textures radiating from the pupil, but that they're layered. Layer upon layer of delicate little coloured shapes. Not an easy thing to mimic. We'll try, though, by painting little soft strokes of colour upon one another, not erasing if we make a mistake but just keeping to paint over, paint over, paint over for that right textured, deep look.
In the end, I decided to break the highlight up as well, just to make it look a little more realistic. It's a good thing to think about the light conditions of a picture before deciding where to place the highlight and what shape it should be, but in this case, I just smudged it a little and added the faintest possible touch of blue to it (I doubt you can even see there's blue there, but there is).
Common Mistakes: Making the iris look flat by painting only one layer of texture and using only one colour with different brightness.

Instructions: There's not a lot to say. For the final step, look the picture over for some things you might want to change or do differently - in this case, adding some more shading and shadowing to the eyeball itself as well as adding a touch of gloss to the iris.
I hope the tutorial has been helpful. Best of luck with your eye-painting.

Textured brushes
Again, for the sweet people of CGtalk, I made a minor tutorial on how to create nice, textured brushes. I think I'll post it on my site for posterity.














the brush

Painting Hair
This tutorial is dedicated to the CGtalk community.

Painting hair isn't, obviously, like painting a face. Doing a tutorial on it is a wildly different experience than a face tutorial. Why? A hair doesn't have any static features. There is no way of telling you where to place a strand of hair the way I can tell you where the nose goes. There's no anatomy of it, except that it has a certain weight and is likely to fall a certain way, and even that you can mess with because there is hair spray and gel and whatever else you might stick in it (blood or whatever, haha).
So. I've done the best I can. I've worked on this for a fair while (longer than I'd like to admit) and now I've finally added the finishing touches.
Throughout the tutorial you'll see some little tips and tricks added to the actual instruction pictures. Some of them are the brushes I'm using, some are tips directly related to the painting of hair, and some are just thoughts I thought I'd add as I went along.

Instructions: The first thing you need to do is to decide on the colour of the hair. This hair will be brownish, but with a wee touch of gold in it. The darkest colour I'll pick for it is nearly black. This is usually true of ALL hair colours - even the lighter blondes where you'll end up painting over a lot of the dark tone, but it's still better to have it there underneath than to go too light. Once the colours are picked (make it one highlighter, two midtones and one shadow), just block in the shape of the hair.
Important: WORK ON A LARGE CANVAS. I can't possibly stress this enough - if you're going to do really nice hair, work big. If you're putting it into a full-body image and you don't think you can work big enough... eep, wrong: work big and then shrink it down to fit into the rest of the picture.
Common mistakes: Starting out with a bright colour and then spending the rest of the time trying to darken it down with shadows. I can't stress enough how much it helps to do it the other way around. With skintones, it's best to start with a midtone, but with hair -- it's always helpful to begin dark. And the biggest mistake of all: not realising that hair really needs a level of detailing that 500x500 pixels won't give you. If you want this level of detail (not necessary, really, but if you do) work much bigger than that.

Instructions: What's done next is the blocking in on the large locks of hair. Just smoothly sketch in where you figure the strands will fall. The trick is to think of the hair not as a lot of individual strands at this point, but of it as thick sections that you will later work to detail down into individual strands in places. Pick colours at your leisure - starting out with the two midtones that you chose. No highlighting at this point.
Common mistakes: A lot of people start painting hair by painting the strands. Some won't even block it in, initially, but start frantically sketching in strand after strand on top of each other. The end result of this will often look like a clump of straw pulled together. Hair naturally separates into locks. It's really, really hard getting this result if you're not painting it in sections - you'll have to somehow, miraculously, paint every individual strand and somehow get them to flow in the right directions.

Instructions: Pick a spackled brush now and try the clumps of hair out. What I mean by that is that you sketchily paint over the hard edges of the individual locks and just get a feel for how the locks will end, if they'll curl up a little and just the general 'feel' and 'flow' of the hair. Since there aren't, like I mentioned earlier, any static features of a hair it is so easily affected by the environment around. It's pretty good if you get the flow of it down right at this point.. From hereon, there will be detailing, and detailing, and detailing and if you realise later that you messed it up here, you will be more than a bit peeved. So just get a feel for it. See if it falls all right considering the wind, the general look and check if you're actually happy with the hairstyle.
Common mistakes: Not considering the wind - a skirt blowing in one direction, for instance, and the hair in the other. Not considering the weight of the hair (short hair often being fluffier, long hair heavier) or the effect that items might have on it (tiara weighing it down, ribbon pulling it up).

Instructions: This is where the fun starts. You can now begin thinking about the fall of the light, the effects of colours around the hair (I'm making this easy for myself, the background is pretty much the same tone as the hair, but if it hadn't been I would have had to consider it here) but most of all just smoothing out the hard blocks of hair and giving it some smooth nice flow. I've got a perfect brush for this. When I just want to quickly smooth the hair out, I'll use a regular round brush with soft edges, but if I want to give the locks of hair semi-sharp edges in places... I can be clever and use a brush that has one side that's sharp and one that's soft (as seen in picture). Try making one, it's awesome.
Try starting to break up the blocks - into smaller sections while still keeping the bigger ones. Not as easy as it sounds.
Common Mistakes: Just painting over the blocks of hair. Big no-no. We still need the blocks, it's just that we're adding some more.

Instructions: Continue to both soften the hair AND break the blocks of hair up. Since we have those individual sections flowing in different directions, it will already start looking like 'hair' at this point. Continually use only soft-edged brushes and don't care if the result looks too-smooth or smudgey at this point. It won't later. Don't forget that the different locks of hair will have impact on each other. Where they meet, they might either shadow one another or merge together.
Common mistakes: Starting to draw in individual strands already. I know it's a bitch to wait for so long - the detailing is the fun part - but when it comes to hair, there's really no rushing ahead.

Instructions: Now. Here's the real trick. Even though we'll detail the entire hair, there's no need to super-detail all of it. Pick out one lock that will receive the most attention. Everything you do to the entire hair, you'll do twice as much to this strand. The texture and detail level of this one lock will have major impact on the rest of the picture even without everything else being quite so detailed. Just trust me on this one.
I'll pick the lock falling down along the side of her head. Once you've got a lock singled out, use a spackled brush and veeeery light pressure to softly follow the flow of the lock down to where it ends. Repeat over and over again in short strokes -- and keep your finger on the colour picker ( the alt key while you're using the brush) to use the right colour in the right place. This way, you will bring out the shape of the lock while keeping the separated, thinner sections The spackled brush will help to, even at this early stage, add some nice texture.
Common mistakes: Unnatural fall. Take some time to study how hair actually falls. How the curls or locks wrap themselves and how they affect one another. Unless the hair is heavily styled with lots of hairspray and fussing, there are some things it generally won't do.

Instructions: Stop a moment and take a look at what you've done so far. This is as good a point as any to really consider the curves of the hair because we're about to go into detailing, and it's hell and some more trying to change it much after that. A successful looking hair will have nice, clean, natural lines to it. Even wildly curly hair looks better if the locks flow and work well together, than if it looks like they're just lumped together randomly. Do a separate layer and follow the locks of hair with some brightly painted arrows. Are they all pointing in different directions? If they are, chances are you might want to adjust them unless you're painting hair in motion or some pretty unnatural looking hair.
If it's looking okay, repeat step 6 over the rest of the head.
Common mistakes: Getting carried away with how fun it is to paint flowing hair. Yes, big bouncy hair is nice, but the eighties are over and gone (hopefully buried) and it's better to keep this in perspective, unless something over-the-top is what you're aiming for. Subtle is often far prettier than overdone.

Instructions: We're finally getting to the details. There's not really any 'trick' right here. What you do is make a new layer. You pick a normal, sharp edged round brush and you paint strands following the general shape of the locks you have. You use a dark colour to begin with. You pause, you smudge it a little with a spackled brush - still in the hair's direction... and then you paint new strands on top of it in a slightly lighter colour... pause, smudge... repeat. Keep picking colours from the hair underneath and make sure not to remove the general shapes you've already created - and since you're keeping all of this on a separate layer... feel free to erase away in places to bring forth the nice texturing you've already done underneath.
Because you've prepared and textured the hair so nicely already, there is no need to overdo this and you don't have to be so careful all over the place. The hair was already looking pretty nice before you got to this point.
Common mistakes: Completely abandoning the shapes you've already set down. At this point, it's SO easy to fall back on the old 'every hair for itself' principle. These might be individual strands, but they SHOULD be moving in group. They should be together. Flowing in unison. One crossing over the other now and then and breaking each other up.

Instructions: Texture, texture, texture. Once the flow is done, it's all about the texture. A really, really nice way to accomplish that wild puzzle of strands that makes up a hair is to paint strand after strand after strand on top of each other, then on top of those on a new layer, strand after strand. Do up to five different layers with different colours, set them to different opacity, blur the strands individually either with smudge or with the blur tool and just keep at it.
Varying between a slightly bigger brush and a really small one, you'll trick the eye into seeing small strands even where there aren't any. Remember that one lock that will have super-details? Focus on that one.
Common mistakes: Thinking that every individual strand has to be painted all over the head. When I say a lot of details are nice, I don't really mean that level of detail.

Instructions: All right. Flatten. Just flatten all the layers if you haven't already. Chances are you'll have way, way, way too many layers at this point. Then, on top of your neat, nice one-layered image, add a new layer and set it to soft light.
Now you're going to do something that likely looks weird, but it really adds to the effect when viewed from a slight distance. Pick a brush, almost any brush, and make it decently small. Then, pick a colour from the canvas - set it as your background colour and then pick another colour as foreground. Go into brush settings and set the pen pressure to colour, and... scribble. Just scribble over the hair, shifting colours as you go, using a low opacity on the layer, and adding texture and depth to the hair. If you use dark colours, you'll also add a nice amount of contrast that will help the realism along a fair deal.
Common Mistakes: Just skipping the random texturing. It really helps to add life to hair even if it seems like pure madness, so don't leave it out.

Instructions: Zooming out, you'll see that the hair looks really nice already. If you don't care to do that much more, you can stop here.
What I generally do at this point, though, is to fix the hairstyle. I've usually painted using the first clumsy blocked in shape and now that I can see the flow of the hair better, I'll go in and just fix the edges up. I'll push it in in one place and out in another, perhaps, so that the shape of it follows the locks I've painted. Using the trick of painting individual strands of hair on a separate layer and very lightly blurring or smudging them, follow the outline of the hair and add some 'frizz' to it. It still looks smooth and sleek but there's more life to it, now.

Instructions: For added effect, go to the edges of the hair and use a soft, nice brush to feather the ends of the locks. There's really no overdoing this unless you totally go mad with it, and if you use a nice, dark colour - some of it will look like nice shadows, and some of it will look like shadowed strands. If the hair is shoulder-long, as it is here, it really breaks up monotony of skin... and if the hair has bangs, please do something similar with the bangs but not quite as feathery - or the hair ends up having a slightly frazzled look.
Common mistakes: Just leaving the hair blocky. Generally, the edges have already been softened up by now, but even so, give it a once-over just for safety's sak

Instructions: I said something about super-detailing, didn't I? This effect is extremely difficult to get if you haven't followed the other steps, and if you haven't got a pretty good idea of how hair 'works'. If you're having a rough time of it, please find some photos to study - it will really help... or just set a mirror up next to the computer (hard if you've got short hair, like I do, but even short hair is helpful).
The trick is to use a really small brush and first follow the flow of the hair with light pressure, and then swerve out from it and across the other strands. This is what really makes a difference, and also what takes painstakingly much time. It's not necessary, I give you that, but the end result is really nice. These separate strands should always be made on layers of their own and carefully treated before they're flattened down. The big upside of doing the strands on individual layers is that you can lock the layer and they paint and shade the individual strands to fit into their surrounding environment. Treat them the way you did those large sections of hair, with shading according to how they fall and where the light is.
The other great bit about them being in separate layers is that you can erase, smudge, blur, and adjust your happy hearts out until they look just the way you want them to. This all sounds really serious, but it's not. It's just serious and difficult until you get the hang of how to do them, then they're pretty quick work.
Common mistakes: Making too many of these errant strands and ending up with static looking hair... making them too obvious or too starkly contrasting, which generally just looks dumb, or alternatively not adding a single wayward strand of hair into an entire hairstyle, and ending up with something akin to a brand new Barbie-doll style.

Instructions: Finally, and yes, we're at the last couple of steps now, add a few more 'obvious' strands that fall across entire sections of hair. If you skip the previous step because it's just too much into tiny details that you feel you don't need, at least don't skip this one. It really, really adds to the look of a hairstyle with a few of these playful locks.
The trick here is to make it seem as if they're actually escaping from a larger lock of hair and just sort of floating out across the rest of the hair, perhaps tugged away by the wind. To add to the effect, a very faint shadow from the strand might fall across the rest of the hair, just making it more visible and also enhancing the appearance of it flying free.
Common mistakes: Unless it's windy or you're painting a wild-haired person, these 'errant strands' won't be that many, that obvious or that big. This is one of those discreet kind of touches that really makes a picture - but like all those kind of touches, it can also break something.

And now you're done, and I hope it was a little helpful :]

Lip tutorial
I want to state, first, that every individual pair of lips is painted differently - because the light sources in paintings vary, the skin colours are different. The shapes of the lips are wildly different and the shape of the face surrounding the lips highly affect the appearance of the mouth. Having said that, this is much like my nose tutorial - just a little explanation on how I sometimes go about painting lips.
Step one - Light source and general shape

Since we're just doing the lips now and not giving a drat about the rest of the face, focus on where the light source is... and what the shape of the lips is. I'm picking a pair of pouty, full lips for this demonstration - because I can go wild with the highlights on a pair of lips like these.
Something some people seem to forget is that the line separating upper from lower lip is rarely 'straight'. The very shape of the lips is usually curvy and smoothly pillowed. I just love lips. Aside from the eyes, they're the most expressive part of any human as far as I'm concerned, and there is a whole lot of sensuality in the look of a mouth (be it thin-lipped or full-lipped or any shape and form - you can make any or none of these look very sensual and appealing). Picking the colour of the lips is easy for the most part. Without lipstick on the lips, you can just take the skin colour - make it a little darker and colder (more red, if you will, less yellow) and you'll be home free.
Step two - Thinking about surrounding shapes

Like I said previously, a lot of different factors play in when it comes to the looks of a pair of lips. Whatever else you're doing right now, do NOT paint in the red lines I've sketched on the picture. I just want to point out a few surrounding shapes that will highly affect the appearance of the mouth. The chin and the area right above it. The little dip just above the lips, and the lines (if any) leading from the nostrils down to the corner of the mouth. If you paint a pair of lips and you neglect shading the surrounding area, you'll get a pair of REALLY flat looking lips. They'll look stupidly pasted onto the face.
Step three - Finding the surrounding shapes

So, step three is a matter of shading. To make the lips pout, and for you to find the highlights and the shadows on the lips easier - it's a good thing to get the surrounding shading down here. This step makes such a huge difference that suddenly - without altering much about the lips themselves - what was just a couple of flattened-looking pink worms suddenly look like an appealing set of lips. What I did was to add massive shading to the left of the lips, to pick out a fine looking chin and deepen the dip above the lips. I only added a couple of bland highlights to the lips themselves (on the two 'pillows' on the bottom lip), and there's already a major difference. I'm using a slightly warmer (and of course lighter) colour for the highlighting on the lips at this point.
Step four - Softening the shapes and finding the lips
Here we're basically softening the sharp sketch-highlights and lines. There's a pair of fine lips hiding in the clumsy shading and I'm trying to find them. Where I've worked with big brushes with rather soft edges before, I now switch down to a smaller spackled brush or a hard edged medium sized brush and I use veeeery light pressure as I move from curve to curve with the colour picker ready to pick up every available colour for me.
It's a matter of blending and finding the right forms - the thing with a pair of full lips like theses is that there isn't really any sharpness to them. You'll not have sharp edges and crisp lines. Better get rid of those stark whatevers and find the soft and lush forms instead. I've also added some light additional shading where the upper lip will be tilting towards the teeth, and very discreetly, I've begun to pick out the shape and form.
Step five - Contrast! Fullness! Highlights!

So I've been all gentle and careful so far. Now I blast it with some more daring highlights and shadows - I'm really digging in to find the shape of the lips. Exaggerating, even, especially on the upper lip - I want that top lip to be pouting, I want it to feel fleshy and 'real'. I can see, looking at it, that the highlight there is way too bright for the lighting - but I'm going to leave it like that to refrain from forgetting about the shape I need to remember is there.
I've now found the perfect curve of the upper lip and it's in harmony with the bottom lip. I darkened the left side of the lip rather drastically - remembering my light source, again, and deciding that the tilt of the upper lip towards the teeth will make sure most of it is shadowed. The bottom lip doesn't catch as much shadow - it's a 'fluffier' pillow, more fleshed out.
Step six - Removal of unrealistic sketch-lines and details

Anything I sketched in to keep track of the shape is removed at this point. I simply paint over the unrealistic highlights I painted in on top of the upper lip in the very first step. I also remove the sketch lines that were defining the shape of the lips - if I've been doing my work so far, I don't really need them at this point. The lips should have a shape all of their own now. I should be able to see the fullness and the form of both upper and lower lip without any aiding lines. Instead of lines, I draw in a few shadows and more natural highlights. On these lips, I use a rather brown colour for the shadows rather than a more reddish tone if I'd been going for makeup.
Step seven - Further definition

At this point, I generally have a really good feel for what kind of lips I'm going for. If you study your lips in the mirror, you might notice that there are highlights not only on the lips themselves, but often around the surrounding area (and we should try to find those - especially if the look aimed for is of the sensual and voluptuous kind). Defining a pair of lips is both about adding shadows and adding highlights.
In this case, I further added to the shadowed part of the face, but I also went ahead and added more highlights above the upper lip as well as below the bottom, close to the corner of the mouth. I've found that this often adds to the 'glossy' feel of a pair of lips.... and there usually is a narrow edge of skin there that is part of the lips as far as the shape goes (slightly pouted, if you will) but doesn't have the same darker, more pink colour as the rest of the lips. This isn't necessary, but I'm doing it here - it's often a sign of a pair of very full lips. Furthermore, I'm doing something about the utterly ugly highlight at the peak of the upper lip - I remember that I should emphasise the shape there, but I use a mix of a more bland highlight and surrounding shadows to pick it out. I'm also defining the dent above the upper lip further - this also adds to a pair of convincing lips.
Step eight - Sharpening and redefining highlights

So, what did I do now? Well, I decided that the highlights looked boring and blurred. I decided I wanted the 'high point' of the bottom lip to be a bit further up. What I actually did was to take a sharp edged brush and very gently paint over the old highlights, and then I repainted sharper highlights with quick, sweeping motions. I used a mix of pink and (believe it or not) green and yellow to achieve the colour on the bottom lip's highlights. I used a colder shade of pink and a touch of blue for the top lips highlights? Why? I can't quite say - I felt like it. The upper lip is more coldly coloured if you take a closer look at it - I felt it demanded a colder coloured highlight.
Step nine - Definition, definition, definition

Did I already sharpen the highlights? Not nearly well enough! Thing is, lips are all soft curves and plump shapes, but I've always found that brighter highlights with occasional sharp (when compared to the much softer shadows and midtones) edges really make a pair of lips 'pop' (and I mean that in the good way, not the 'exploding silicone lips!!' way). In this step, I went over every single highlight and defined it further. I imagined the lines leading vertically over the lips and I picked out glossy lights reflecting on these.
Step ten - Texturing

So, among all these glossy highlights and smooth shadows, I've neglected any kind of texture to the lips. What needs to be done is to pick a small brush and then go over the lips like a madwoman - using the colour picker to snag colours from left and right - and 'prickle' the skin with a myriad of little dots and colour variations. Break the highlights up, bring some interesting variation to the shadows if you will. If you're having problems with the texturing the first time around, do a few textured, spackled brushes and apply them on a couple of different layers with the layers set to soft light and multiply.
Step eleven - Finishing off

There's little to say about the final step. When you finish the lips, you might end up deciding against some part of the shape you were previously very fond of. I decided, here, to shade the upper lip further - taking away a little from its plumpness but, I think, instead adding to mystery of this particular mouth. I add more texture, in particular to the more shaded parts - picking out a few highlights on the darker side of the bottom lip, for instance.
Mostly, the final step is just about looking at what you've done and deciding whether it's what you wanted or not. If not - I suppose you should have made any major changes in the earlier steps but it's never, ever too late to repaint, redo and remodel. Anyway, good luck with your lip-painting :) I hope I've been a little helpful.

Nose tutorial
First off - this isn't exactly how I do the noses. These steps come quite natural to me and I don't really stop to think about them. Usually, I end up painting over, repainting, changing, and ditching several noses before I find one I like. Furthermore, I don't actually paint in the 'lines' when I paint a nose, I just think them. I'm just trying to explain, here, how it could be done, yes?
Step one - placement and angle
Anyway - start off with getting the basic features of the face down - mainly to decide such things as light source, and what kind of nose we're looking for [1]. No need to go overboard, let's keep this sloppy. Usually, while I refine the nose, I refine the rest of the features at the same time - but I'll leave them like this now.

Step two - finding the shape

Paint - on a separate layer - an elliptic dot right between the eyes [2]. Then follow a lightly curved line downwards, and paint a triangle - similar to the one in this picture. Adapt the triangle to the angle of the face. If it's not seen in profile, or straight on, it'll be a little smaller on the side of the face turned away from us. Like in the example here.

Paint two slightly curved lines leading down from the dot [3]. Let one of them impact with the triangle right above its peak, while the other touches the edge of the triangle. When you've done this, you've isolated the upper part of the nose. A mistake I've seen many make is to keep this part very flat as if the nose consisted of bits of plastic glued together. It's soft edged, and when we're done, there won't be any sharp black lines like this. Unless you're doing a linework drawing, don't ever, ever, ever keep black lines in.
Step three - refining the shapes
Next thing you do, is realise that the end of the nose tip is not sharp and flat like in the 'sketch'. It's rounded. Likewise, the shadow underneath the nose will not really be shaped like a triangle for the most part. So, do a softer curve - like a little wave [4]. When you've done this, you can do a quick horizontal switch of your canvas to see if you've got it down properly.

After you've done this, simply paint over the dot. It's likely that this area will be brighter than the rest of the nose, so we'll go with that here. Also, soften the dark lines with a light colour - and follow the end of what used to be the triangle, and curve it upwards (like half a circle) towards the line - like viewed in [5].
You now have the bridge of the nose, and the upper curve of the nostril (this curve is usually not this visible, but we'll take care of that as we progress).

The side of the nose needs to be defined, too. Imagine it an area (though not a flat area, but one nevertheless) that angles down a little, and then almost straight to the triangle as viewed in the example [6]. Do -not- paint the red lines in, just the dark one.
Step four - finding the nose under the lines
The area that you sketched out in example [6] is now to be painted in. Don't be afraid to paint over the shape of the nostril, nor the lines - but fill that area with a lightly shaded hue. In this picture, the shadow isn't too stark - and I suggest you make it a soft shadow, too. As you can see in the example [7], I haven't entirely painted over the shape of the nostril, but it is only hinted at now.


Next thing we do now is to zoom in, and to paint over the dark lines. Also, the triangle needs to be worked on - we've left it untouched so far. Let the visible nostril follow the line of the triangle and soften the transition from dark to light a little [8]. Don't touch anything on the nose 'cept for the triangle area, and the one that you've recently filled in.

Continue doing this, until you have completely hidden the lines [9] and you see the nose instead of the sketch of it. Instead of defining the nose by lines, we're now defining it by some rather subtle changes of colours and shadows. Also - chances are that you'd see the second nostril as a shadow on the far side of the nose - note that I've added a small hint at it now.
Step five - highlights and shadows

Now, the nose in the previous example looks rather flat. To work against this, carefully bring forward highlights and shadows all over the nose with subtle, delicate hues. Find the highlight on the tip of the nose - but do not exaggerate it, and continue to find the curve of the nostril, and the angle of the nose tip not through lines but through colours [10]. I picked the colour on the highlight from the brighter area at the bridge of the nose - since it's surrounded by a darker shade, it will appear to be brighter.
The tip of the nose is defined here - depending on where you put the highlights on the tip, the nose will change shapes - it's interesting to view. Try to move it around a little 'til you find a place that accentuates the shape that you want.
A zoomed out picture of the progress now [11] shows a nose that has both shape and softness through the way we've worked so far. The difference of hue and brightness between cheek and nose easily shows where the nose begins to 'rise' from the shape of the face.

All that is needed now is refinement of the highlights and colours. This is a process I can't really explain, as such, but I'll give you two examples [12], [13] to show how it might look. You've got the shape of the nose down now - don't be afraid to play around with highlights and shadows. In case you want a more contrasted nose, with starker shading, you can still use these basic shapes to figure out how to work with darker shadows.
Think of the areas we defined earlier and work from that point until you've learned the shapes in a way that will let you do all of this automatically :)
The picture - really just a quick sketch, ended up like this:

http://www.art-here.net/html/av/3765.html
这个是达芬奇的手稿搜集，里面很详细的介绍了怎么画透视之类的东西。不过有点老，而且看起来很累

下载方法就是,复制下面的地址到迅雷里就可以了．
http://goodbrush.com/ftp/bridge.mov
http://goodbrush.com/ftp/tank.mov
http://goodbrush.com/ftp/sink.mov
如果不行的话到下面这个网站下．
http://forums.sijun.com/viewtopic.php?t=41373

学习绘画的方法是唯一的吗?
先看一下历代大师的名言
"如果有人问我如何学习绘画,我会告诉他,首先学习透视,其次学习万物的比例,再次既由素描学习明暗,最后学习色彩."                                      
                                                            达芬奇
"一个学画的人,如果连透视,明暗,解刨,构图都不学的话,那么努力对于绘画就是没用的."
                                                            凡高
"其实对于绘画来说,只有一条道路通路罗马其余的都通向黑暗."
                                                            Craig Mullins
这3位大师是不同年代,不同风格,不同作画工具.却都坚信学画只有唯一的一个方法,为什么呢?我看了一下绘画的理论发展史,发现了答案,就是大师们一致认同的方法与绘画的发展过程是一样的,
看一下绘画的理论发展,
公元前人们画的画很不真实,用现代的眼光看就是卡通画,比如古埃及的壁画,那么为什么那时的人们要画不真实的呢?主要是因为理论的制约,因为他们不会透视或没有把透视容入绘画之中,直到过了几千年后的13世纪,画家乔托才将透视容入绘画之中,绘画才有了长足的进步,乔托也因此被称为写实绘画之父, 然后到了文艺复兴,文艺复兴的人们在透视的基础上开始着手去解决另一个难题,比例,他们称为神圣的比例,其中最有名的就是黄金分割.比例就是结构,人体解刨就是为了确定比例,就像达芬奇说的"人的每一块肌肉的不同,仅是在长度,宽度,高度上不一样罢了."然后达芬奇提出明暗法,这也是达芬奇对于绘画最大的贡献,贯穿他一生的一大绘画课题,他说"绘画最大的奇迹是使平白的画面产生像浮雕一样的凹凸感."如何产生凹凸感?就是明暗了.明暗法讲的就是光影的规律,学好了它很有用因为我们所看到的一切都只是光而已.明暗法使绘画一下有了质的变化,拿达芬奇的画与他前人的相比一下就看出来了.然后色彩成为人们关注的焦点,色彩的属性,光色的属性,各种色环,色彩叠加........发展到这里人们的写实功底已经很完美,几乎每一个学传统绘画的人都做的到,于是人们开始去追寻各种风格,印象,抽象,浪漫,现实,野兽.......
代表人物很多也很有名,凡高,毕加索,达利........到了现在追寻独特的风格成了艺术家生存的基础,整体开始流于形式,尤其是应试美术教学,更是把形式的东西大肆的宣扬,但不要忘了绘画上还有一大问题没有解决,就是材质,同样的结构,同样的颜色,同样的环境,同样的角度,一个是金属的一个是玻璃的,那看到就完全不一样,所以材质很重要.可惜画家不愿去解决,值得庆幸的是做3D的人很在乎,一新渲染器的上市必定有材质上的进步,功能越完善了,越真实了,默认的效果越好了.....想一下现在做3D的做什么最困难,人的模型不是问题,人的动作有动态捕捉仪器的帮助也不是难题,虚拟真人的皮肤最难,人的皮肤的材质SSS材质,次表面散射材质199几年由天行者牧场里的一个人发明的当时还得了国家的一个科技奖项(对不起,我记不清了). MAXWELL渲染器的发布,使材质的理论初出端倪.
绘画的发展过程简化了就是透视,比例,明暗,色彩,材质.在看一下大师们所说的学画方法是不是一致呢.至于问发展过程为什么是这样,那就长篇了.

罗列194种创意线索：
1、把它颠倒过来
2、把它摆平
3、把缩小
4、把颜色变换一下
5、把它变为圆形
6、使它更大
7、把它变为正方形
8、使它更小
9、使它更长
10、使它闪动
11、使它更短
12、使它发出火花
13、使它可以看到
14、点燃它
15、使它逾起一般情况
16、使它发萤光
17、把它放进文字里
18、使它沉重
19、把它插进音乐里
20、使它成为引火物
21、结合文字和音乐
22、使它成为引火物
23、结合文字、音乐和图画
24、参加竞赛
25、结合音乐和图画删除文字
26、参加打赌
27、不要图画
28、使它成为年轻型的
29、不要文字
30、使它成为壮年型的
31、沉默无声
32、把它分割开
33、使它重复
34、保守地说
35、使它变成立体
36、夸张地说
37、使它变成平面
38、当替代品卖
39、变换它的形态
40、发现新用途
41、只变更一部分
42、减掉它
43、使它成为一组
44、撕开它
45、为捐献或义卖而销售
46、使它化合
47、鼓励它
48、用显而易见的
49、机动化
50、把要素重新配置
51、电气代
52、降低调子
53、使它活动
54、提高调子
55、使它相反
56、割开它
57、它像是某种东西的代替品
58、混合在一起
59、使它罗曼蒂克
60、改用另一种形式表现
61、增添怀旧的诉求
62、使它的速度加快
63、使它看起来流行
64、使它缓慢下来
65、使它看起来像未来派
66、使它飞行
67、使它成为某种物品的部分代替
68、使它浮起
69、使它更强壮
70、使它滚转
71、使它更耐久
72、把它切成片状
73、运用象征
74、使它成为粉状
75、它是写实派
76、以性欲作诉求
77、运用新艺术形式
78、使它凝缩
79、变为摄影技巧
80、使它弯曲
81、变换为图解方式
82、使它成对
83、使它变更形式
84、使它倾斜
85、用图画说明你的故事
86、使它悬浮半空中
87、使用新广告媒体
88、使它垂直站立
89、创造新广告媒体
90、把它由里向外翻转
91、使它更强烈
92、把它向旁边转
93、使它更冷
94、摇动它
95、增加香味
96、把它遮蔽起来
97、变换气味
98、使它不对称
99、把它除臭
100、使它不对称
61、增添怀旧的诉求
62、使它的速度加快
63、使它看起来流行
64、使它缓慢下来
65、使它看起来像未来派
66、使它飞行
67、使它成为某种物品的部分代替
68、使它浮起
69、使它更强壮
70、使它滚转
71、使它更强壮
72、把它切成片状
73、运用象征
74、使它成为粉状
75、它是写实派
76、以性欲作诉求
77、运用新艺术形式
78、使它凝缩
79、变为摄影技巧
80、使它弯曲
81、变换为图解方式
82、使它成对
83、使它变更形式
84、使它倾斜
85、用图画说明你的故事
86、使它悬浮半空中
87、使用新广告媒体
90、把它由里外翻转
91、使它更强烈
92、把它向旁边转
93、使它更冷
94、摇动它
95、增加香味
96、把它遮蔽起来
97、变换气味
98、使它对称
99、把它除臭
100、使它不对称
101、将它向儿童诉求
102、反它隔开
103、将它向男士诉求
104、使它与其他相敌对
105、将它向妇女诉求
106、使它锐利
107、价钱更低
108、变更它的外形
109、抬高价格
110、要它绕一周
111、变更成份
112、把它框起来
113、增加新成份
114、把它卷成一圈
115、拧搓它
116、把它填满
117、使它透明
118、把它弄成空的
119、使它不透明
120、把它打开
121、用不同背景
122、把拼错
123、用不同环境
124、给它起我上绰号
125、使它富有魅力
126、把它封印起来
127、使用视觉效果
128、把它移转过来
129、使用另外的物料
130、把它捆包起来
131、增加人的趣味
132、把它集中起来
133、变更密度
134、把它推开
135、置于不同的货柜
136、使它成为交替的
137、变换包装
138、使它凝固起来
139、使密度增加
140、使它溶化
141、小型化
142、使成凝胶状
143、增加至最大限
144、使它软化
145、把它除掉
146、使它硬化
147、使它轻便
148、使蒸发变为汽化
149、使它可以折叠
150、加上抑扬顿挫
151、趋向偏激
152、使它更狭窄
153、如夏天炎热
154、使它更宽广
155、如冬天寒冷
156、使它更滑稽
157、使拟人化
158、使它成为被讽刺的
159、使它更暗
160、用简短的文案
161、使它发光
162、用冗长的文案
163、使它灼
164、发现第二种用途
165、使它更有营养
166、使它合成在一起
167、把它倒进瓶中
168、把它当作用具来卖
169、把它倒进罐中
170、使它清净
171、把它放进盒中
172、把它倒进壶中
173、把它倒进缸中
174、把它弄直
175、把它褶曲
176、把它缠起来
177、提升声誉
178、免费提供
179、以成本价出售
180、提供特价
181、增加慰藉的诉求
182、提供维护服务
183、运用不同的织法
184、使它变成香郁宜人
185、使它变成酸的
186、使它濡湿
187、使它脱水
188、使它干燥
189、把它冻起来
190、把它抛出去
191、使它无刺激性的
192、使它单纯化
193、使它具有刺激性的
194、把以上各项任意组合

如果有人不想被这些枯燥理论束缚你的想象力，那就不用看下去了，因为文章较长！

　　设计虚拟动物，相信很多做设定的都画过，把各种动物的特征生搬硬套组合成一个新的生物，虽然咋看起来夸张有趣，但是实在经不起推敲！我觉得在天马行空的想象力下也需要了解一些生物的基本生理特征，也就是说其身上肢体器官特征都是备受环境和饮食的影响，而且其身上的器官组织之间也是相呼应的，这是为了生存所必须的。了解这些才可能让设计出的生物更加可信！那该如何明确他们的特点去正确的把握呢？接下来就和大家谈谈这方面的知识吧！

　　亿万年的进化历程里，造就演绎了很多千奇百怪的生物，经大自然千百万次的淘汰筛选和生物自身经过辐射发展适应各种生态环境，才最终演变出现在我们所看到的这些奇特生物。按照一些理论，如果在遥远的某个星系的某个星球上也有如地球一样的条件，那么它们进化的方式差别也不大。而且，地球上最初的生命也是源自太空的。

　　 现在首先从牙齿谈起，看过的生物设定中，很多造型都很不错，结构也比较合理，可就是被那口牙给搞得败笔了，安错物种了！而且类似情况不胜枚举。头部是表现生物特征的重要组成部分，如果牙齿处理不当，岂不遗憾

　　就以哺乳动物举例！向大家谈谈它们的不同特征，让大家更好的了解生物的多样性！

　　哺乳动物从早期的原始食虫类沿着不同的辐射适应的方向发展。有一些哺乳动物的类群改变了其祖先吃虫的特点，而演变为吃植物性的食物，或者演变为杂食性。另一些类群却继续向着吃动物性食物的方向发展，以捕捉其他动物或寻觅其他动物的尸体为食，进而演化为食肉类动物肉类大体可分成两大类，即犬形类（包括狗类、熊类、大熊猫、浣熊类、鼬类、獾类和水獭类等）和猫形类（包括灵猫类、鬣狗类、土狼和猫类等）。在食肉类动物中也有少数种类，仍然以吃植物性食物为主，如我国的大熊猫、小熊猫等，是以竹子等植物为主要食物的，或者是杂食性的，如熊类、貂类等。

哺乳动物的牙齿是各齿形态相异的异型齿，分为不同功能的门齿、犬齿、前臼齿和臼齿四种。颊齿(前臼齿和臼齿合称颊齿)齿冠形态变化更为复杂.根据牙齿和食性的关系大致可分为三种类型：一为食肉动物的切尖型；二为食草动物的脊齿型；三为杂食动物的瘤齿型。

哺乳动物食肉目中的猫、犬、狼、虎、豹、狮等动物的牙齿为切齿型。

　　由于大多数食肉类动物以捕杀其他动物为食，因此具有一系列与这种捕食的生活习性相适应的形态。食肉的主要适应之一就表现在牙齿上，它们牙齿的构造发生了很多变化，门齿一般为尖锐的凿状，上下颚各有3对用于切取食物。用于刺戳捕食对象的犬齿十分强大，为圆锥形，就象匕首一样，是它们的主要武器，其长度、粗细和弯曲程度随种类不同而异。前臼齿和臼齿咀嚼面构造变化极大，数目也均有不同程度的减少。与食虫类由上牙后缘与下牙前缘担负切割作用的方式不同，食肉目动物具有特化的裂齿，或称为食肉齿，由非常发达的上颔最后一枚前臼齿和下颔第一枚臼齿构成，这也是其区别于其他动物的主要特点之一。上裂齿内侧的前后两个齿尖和下裂齿外侧的两个齿尖均较高而粗大，呈剪刀状。咬合时，呈侧铡刀样对切，以撕裂韧带、切碎软骨等。在进食的时候，可以把衔在口内的肉，慢慢移向嘴角，用裂齿侧切开。但在不同种类的食肉兽中，裂齿的大小和发达程度往往不一致，其中以猫类和鼬类的部分种类最为发达。熊类和浣熊类等的裂齿不够发达，其前臼齿和臼齿均较粗大，齿列的结构适于咀嚼。

食肉类动物的咀嚼肌也都比较发达而粗大，颌关节比较紧密，下颚骨（齿骨）强大，其关节突和鳞骨的横向关节窝构成关节，使下颌限制在上、下直线范围内，不能前后移动，左右活动也极其有限，所以能够用力咬合，以利于牙齿切割肉类，但也因此而抑制了牙齿的研磨作用。俗话所说的“狼吞虎咽”一词，就形象地说明了它们缺乏咀嚼、吞咽进食的习性。它们所谓的咀嚼也不是象食草动物那样的研磨作用，而是用强力将食物压扁、压皱。

杂食动物的瘤齿型。猪、灵掌类也是我们常见的。它们食性广泛，所以前臼齿和臼齿都进化成瘤齿型，咀嚼肌也很发达。因为食性广泛，咀嚼时间加长，臼齿扩大适于咀嚼，才使它们进化出了宽厚的下颚了。

草食的动物它们的门齿如铲型是方便剪切草叶，也对应进化出较高齿冠的臼齿和宽大的下颚来研磨粗糙坚硬的草纤维，方便消化。它们中头上有的有角或者有奔跑速度很快；角有三种：
①表皮角，是由毛发胶结而成，如犀牛的角； ②洞角，又叫虚角，额骨长出骨质角心，外面由角质套所覆盖，牛、羊的角属此种； ③实角，是额骨长出各种形态的骨质角，生长时外面为皮肤所覆盖，角长成后完全骨化，皮肤脱落，如鹿类的角。 草食动物有蹄，分奇蹄和偶蹄。

河流与海洋中的捕猎者的牙齿大多为圆锥形，而且相互交错如同钳子，这样结构的牙齿对付滑溜的猎物是再合适不过的了。一般来说以鱼类为主食的动物中逆戟鲸、海豚、海狮基本上都是这样的一口牙。这样的牙齿特点反映出它们不需要咀嚼，所以它们咬肌不发达，下颚也就比较细小。它们身体呈圆筒流线型，有的皮肤裸出，没有体毛，前肢鳍状或者指间有蹼，后肢退化或者演化成水中推进器官。这些都是水生哺乳动物的主要特征！

综上所诉！从牙齿特征上便可得出它们的体貌特征。反之亦然！那么我们在做设计时就要把它们食性和环境因素考虑进去，那样设计出的生物就让人更可信了！

生物的体形

生物的体形，从他们的生活环境、食性反映出来。体重较大的动物，四肢会由于支撑身体的重量而趋于粗壮笔直 。桡骨和尺骨、胫骨和腓骨之间进化的相当密合，这就大大加大支撑力度，掌骨也呈扇形状几乎贴到地面。这些从古生物的梁龙、阿根廷龙、腕龙和现代的大象等重型动物上得到了印证。因为它们受到体重约束，步幅小，行动速度慢，所以桡(尺)骨、胫(腓)骨要相对上一级骨骼短一些，这样的话它们不需要抬很高的腿就可迈出步伐了，是很省力的办法哦。

从这这里代表性动物中可以看出四肢骨骼的变化和功用。善运动的捕猎者和猎物多呈三折形后腿，这是为了奔跑速度和弹跳力的爆发力，奔跑速度的快慢可从其后腿的胫骨相对于股骨长短便可分辨出来的。
　　动物们的特点在于应势进化，对它们有利的才会特化，可以说多种因数影响了他们的身体结构，生物的多样性是必须的，但还是有很多表现的趋同进化，也就是说两者之间进化的非常相象，只会在小地方有些差别。比如狼和澳洲袋狼，他们的同系原始祖先在几百万年前就分道扬镳，澳洲脱离大陆大海隔绝，独立进化，至此两个物种从没见面。但它们却进化的非常相象，这是因为在大自然食物链中间必须有形成一种可消耗和制约其他动物的掠食者，还有袋狮、袋熊等。
　　再怎么奇怪的动物，他们的生理结构是相互呼应的，一些不合理的特征结合在上面反而会导致突兀，不是说一定要按照我们所知道的东西来左右作品，但知道一些基础的实际的东西，设计起来也可有个合理的解释，要知道，我们不是设计架空的不切实际的世界，而是要让大家觉得它真的存在，而产生联想！那我们的工作就做到了。

简单谈一下依照进化理论的物种特点。
在设定这些直立型生物的时候，要先考虑想做属于半直立还是全直立。

半直立在这里是指那种靠后肢短时间直立的动物，这些动物本身很多时间还是靠四肢行动较多的，为了站立，支撑身体，他们的骨盆发达很多，至少比完全四肢着地的要宽大一些，而且髋骨上沿髂脊承担了不少力量而增大。他们的后肢还是保持的原本的三折型特点，靠趾骨为接触面直立，脚趾为了支撑身体的稳定性，进化的较以前长很多，脚趾张开保持平衡。
完全直立的动物的体重完全压到双腿上，它们的趾骨和跖骨缩短形成一个平面，股骨、胫骨也趋于平直，关节之间增大接触面，这样就很好的稳定了上身的平衡。这就是下肢比上肢粗的缘故。如下图。

当动物进化形成双足站立行动后，他们的上身体重就完全压到两个后腿上，骨盆也相应改变了格局和大小，承担起托起内脏和加强下肢支点的作用。下图是骨盆变化的过程。

下面是灵掌类动物、古猿和人类骨盆正面比较图，从中可以看出，经过几百万年的进化，负重重心改变，盆腔宽阔，趋于盆状，附着肌肉的部位更厚更阔；关节球增大，股骨也随着粗壮了。由这个例子可以说明，当假想的一个物种需要靠双脚直立行动，它们骨盆的样子，和现在举的例子差别不是非常大的。

动物形体结构上的这些资料都是我多年“研究”的一些总结，虽然我研究的还不透，但从中已很受益匪浅！现在，用闲暇时间写一些出来献给大家，为了方便阅读，短小精悍是我的目的，若可以帮助到你们，我将不胜荣幸！写的仓促了，难免纰漏，请大家多多包涵～：）

　　　　　　　　　　　　　　2006年3月８日柳叶刀于上海

概念设计师是游戏和电影的前期制作阶段最重要的角色之一，他们通过绘画在剧本中注入生命，将想法形象化，来传达设计的风格和意图。 
双亲为中国大陆移民、在洛杉矶市银湖区生长的朱峰, 在九年前从概念设计师开始了他在设计领域的职业生涯——为好莱坞电影设计科幻场景。之后他进入游戏领域，在Origin Systems，也即现在全球最大的互动性娱乐软件制作发行商——美国艺电有限公司（Electronic Arts, EA）中任职，在著名的《银河飞将》（Wing Commander）系列游戏中担任唯一概念设计师的工作。 
在那之后，朱峰作为原始人员加了入GT Interactive工作室 (DOOM毁灭战士发行商)。在这公司里由他参与开发的美术资源和技术, 到现在还一直被使用。 
1999年朱峰回到洛杉矶，作为关键成员加入了另一家新成立的工作室：Liquid Entertainment。在这里他再次作为唯一的概念设计师，负责了游戏 《魔域帝国》（Battle Realms）中的所有设计。这款游戏一经推出饱受好评, 他在这款游戏中的设计也得到了高度的认可，并在许多书籍和杂志中被广泛宣传。 
游戏界的名气将朱峰带到了Blur 制作室，进行他们主要影片的电影特效设计。但是他的工作范围很快就延伸到电影之外，包括与美国蓝马克娱乐集团（Landmark Entertainment）, 迪斯尼（Disney）, 斯亚乐公司（Sierra）, MTV, 探索频道（the Discovery Channel）, Bandai，和环球影业（Universal）等公司合作，进行游戏过场动画、电视广告、3D 动感电影、音乐电视制作等工作。 
在2002年中期，朱峰获邀进入了著名导演乔治卢•卡斯（George Lucas）的Skywalker Ranch公司，参与特技电影《星战前传3》（Star Wars, Episode III）的制作，一年的工作中每周和卢卡斯面对面讨论过去一周所绘制的设计图案。同时还在Industrial Light + Magic公司给这特效工作室为他们提供细致的绘制和设计。 
随后朱峰开始在世界上最大的和最成功的网络游戏开发商NCsoft里担任创意总监，负责管理NCsoft旗下全球所有工作室的艺术资源，日常运营和项目的开发。他同时帮助公司在洛杉矶设立了新的工作室，招聘设计师，帮助工作室搬至Santa Monica，并协助公司为2005美国洛杉矶E3游戏大展设计公司形象。 
2004年朱峰重新回到电影领域，与导演詹姆斯•卡梅隆（James Cameron – 异形, 泰坦尼克号, 终结者）共事，在导演的直接领导下参与艺术部门的工作，为他的下一步科幻电影设计场景。 
除了为其他工作室工作外，朱峰还在自己的工作室：Feng Zhu Design 中担任成功的自由设计者。他的客户包括：Electronic Arts, Epic Games, Warner Bros, 3D Realms, Film Roman, Monster Garage, Sony Games, Wacom和Microsoft。他还设计了一系列的Sketchgirls玩具, 在2006年上市。 
2005年，朱峰与时针公司（Gnomon Worshop）合作，将自己在概念艺术和使用马可笔绘画的技巧制作成了工业设计教学DVD。这些DVD上市后得到极大的认可并被销售的世界各地，许多学校现在将这套DVD作为辅助教学资料。这一成功将其他设计师也吸引进来不断扩充该DVD系列，包括未来派画家Syd Mead。 
另外在过去的四年里朱峰还一直担任Gnomon公司和以艺术设计闻名全球的设计学院-巴沙迪纳中央艺术设计学院（Art Center College of Design）讲师。作为工业设计专业课程的教师，他的课程还引起了好莱坞的兴趣，其中导演迈克尔•贝（Michael Bay – 石破天惊, 绝世天劫, 珍珠港）与朱峰和他的班级合作协助他的电影《孤岛》（The Island）的设计。朱峰的教学经历也吸引了其他学校和公司的兴趣，多次在世界各地讲学，从亚洲到欧洲再到加拿大。 
现在最新的项目, 是朱峰和合伙人在北京建立的游戏工作室, 利用他们在国外的游戏制作经验, 在国内开发一款真正能在国际市场发行, 极具创意, 带朱峰独特美术风格的原创网络游戏。朱峰相信国内有很多高水平的游戏开发人才, 比较欠缺的是国际化的制作经验。他已搬到北京, 全力投入这游戏的制作, 在不久的将来有一款在中国制作被国际认可的AAA原创游戏。对这游戏项目有兴趣的美术和程序开发人员, 可以把简历和作品发到jobs@possibilityspace.com。

以下是著名CG大师spooge demon关于绘画定义的一段比较精辟的论述。

I really don’t know what good drawing is, I cannot define it absolutely. Traditionally, it is an academic idea, and the guys at art renewal would say that naturalism is good drawing. But there are people who have expanded the definition of what is good drawing. Take for instance Elliot’s girl at the top of this page. It is excellent! Everyone seems to like it. All those French dudes draw like a fish swims. But the proportions are funny and the arm is too short and the head is strange and the hip is missing, etc. So in the eyes of an academic purist this is bad drawing. So I would say that drawing is as subjective as any aspect of art, and has more to do with the emotional expression of form. If it looks wrong to you, it is wrong… to you. There is an old painting I did of a gladiator crouching. I was very happy with the gesture of it. But so many people says it looks messed up to them. So who is right? If you go with the expanded idea of what drawing can be, to include more expressive ideas, it becomes very subjective.

But the art renewal people and dim witted people in general, think they know what good drawing/art is. Even by their own definitions, some of the “living masters” in their “approved” gallery don’t know much, and it is pretty embarrassing in my eyes. I have watched them work first hand and listened to their narrations. I cannot prove that it is “bad,” because I do believe in my own conviction about how subjective things are. I can only say that I get cross-eyed looking at some of them. And if academic skill is the only thing you are selling, it is grim.

So as far as worrying about anatomy in these speed things, that is an involved question. But to make it simpler, if there is something that bothers the viewer, it is wrong to them. Others could like it. But usually these images are thoughts that have one or two goals in mind, like lighting or composition or even anatomy (maybe pay more attention then). I guess the shortest answer I could give is spending enough thought so that it does not stick out painfully.

Flushy, I am going to say something pretty harsh, so the rest of you go away for a minute I am roughly 15 years older than you, and I see a lot of the same strengths and weaknesses in your work and mine. You and I have a good handle on setting up a solid value structure and then playing with paint and light effects to keep the eye entertained. But you, like me, need more drawing. I just started about 3-4 years ago.. Don’t make the same mistakes I made, hiding behind piles of pretty paint, start now and learn more about drawing. Any painterly illustrative style depends on this more than anything. Your work will be better, faster, more flexible, and more profitable. You will learn faster as time goes on and the emergence of your own artistic personality will be much stronger. I had a teacher at AC that said plainly that in all the students he had seen, income was based on the ability to draw more than any other factor.

But you protest “you just said you did not know what drawing is!” That’s right I don’t, but I think that it has something to do with your own personal understanding the form and structure of the things around us, and figuring out how to express that on a 2-d surface. And to further explain my obnoxious comments about academic artists above, be very very careful of whom you listen to, and that includes me. I have seen way too many young artists get caught in the academic thing and never emerge. I can see them sitting before the feet of the robed master, as he tells tales of the greatness that they should all strive for, to immolate themselves on the pyre of 19th century masters, there is only one true path and all else lead to the dark side. So try to find people you can learn from, but a variety, not one (or one institution) who claims to Know, and says if you don’t listen you are Damned.

I went to ACCD and took some classes at Art Institute of California. Both are wonderful in their own way, both take themselves way too seriously. But that could be for marketing purposes. Nobody likes a wishy washy. “Pay us 100 grand and we will give you a fragmented idea of what we think art might be partially about” Not very good. Lets just say they have started to believe their own PR.

I don’t think this will happen to you, you are a little older, and maybe have a stronger personality and could tell them to shove it.

If you find yourself on your own, go to museums often, carry a sketchbook at all times (and even draw in it) and draw from life as much as you can. Learn about art history too. Draw and think while you are drawing. Spending 2 hours filling a background behind a head drawing with a 4H pencil is not the best use of time. I said all this before.

Ok if I slobber this much I have to post something.

以下是翻译

我不知道什么是真正的好图画, 我无法绝对定义它。传统上, 这是一个学术想法。并且艺术创新者会说自然主义是好图画。但有人扩展了好图画是什么的定义。例如在这页上面Elliots 画的女孩。他看起来画得太好了! 大家似乎都喜欢它。所有那些法国公子们画画都象鱼游泳。比例滑稽并且不是胳膊太短就是头画的很奇怪的，并且缺掉了臀部等。如此的绘画艺术在一名纯艺术主义者眼里这是糟糕的图画。所以我会说, 图画像任何一种艺术一样都是主观的, 更多的是以情感表示形式。如果对你来说，它看起来错误, 它就是错了，我曾经画过一幅格斗者俯行的画。我个人十分喜欢他的姿势。但许多人说它看起来很乱。谁是对的呢? 如果你把图画的定义扩从出去, 包括更加表现派的想法, 它将变得非常主观。

但艺术更新派和一些“愚蠢”的人, 认为他们知道是什么好的绘画艺术。根据他们自己的定义, 就连一些公众认可的画廊的当代的大师也是无知的。有时我感到十分尴尬，我观看了他们绘画过程和倾听他们的叙述。我无法证明, 这是好艺术还是坏艺术，因为我相信我自己的信念是多么主观。我能只说, 有些让我看得目瞪口呆。并且如果技巧是您唯一卖弄的, 那就太残酷了。

至于像担心解剖学这些事, 那是一个棘手的的问题，简而言之, 如果有的东西让看画的人不舒服, 那它就是错误的。但有可能其他人喜欢。这些图象通常是有一两个目标的想法, 像光或构成甚至解剖学的想法(可能给予更多注意) 。我猜测我能给的最短的答复是给画以足够的想法，多想就不会以后错误百出。

不好意思， 我要说一些令人尴尬的事, 我可能比你多活了15年, 在你们之中我看到很多相同的力量和弱点。你和我都有很强的造型能力，调色，用光，画出赏心悦目的画，但你和我都需要更多图画。我开始电脑绘画大约3-4 年前。不要犯我犯的同样错误, 把问题掩藏在堆砌华丽的油彩背后, 现在开始学画更多的图画。美术风格的形成比任何东西更需要更多练习。只有坚持不懈的练习，你的画才会更好, 更快更加灵活, 和更加有益的。它将有益于画技的快速地成长同时继续增强你自己艺术个性诞生。我有一位老师在AC教书曾经坦白地对学生们说：你的能力将比任何因素更能决定你的收入！

也许你会抗议，说你不知道是什么真正的图画!? 正确，其实我也不知道, 但我认为它是有关形式和结构的个人理解并且如何在2d平面的媒体上表现出来。进一步解释，我讨厌关于学术艺术家的评论, 请非常非常小心你正在聆听的讲演者, 包括我。我看到许多位年轻艺术家陷入了技巧之中不能自拔。我仿佛看见他们坐在穿长袍的大师之前, 听他讲伟大的传说, 牺牲在19世纪大师们的圣坛之上, 事实上只有一条道路通罗马，其他的都通向黑暗。如此尝试找到你能值得学的人, 不仅仅是一个人，要是多方面的人, 而不是那种自称为什么都知道，你不听他就会被谴责的人。

我不认为这将发生在你身上, 你们更成熟, 有更强的个性, 能劝告他们抛弃这种想法。 如果你想寻找到真正的你, 就经常去艺术博物馆, 带着速写本 (并且要用它画) 并且尽你所能去写生。还要多学艺术史，画的时候要多思考。我曾经说过很多次，花2个小时用4H 铅笔在一张头像之后机械地涂背景，不是对时间的最佳利用和明智之举……