I've had the idea for a while to do a pic of Mandy that's a takeoff on the famous scene in Bambi where the butterfly lands on Bambi's tail. So I did a Google search, found the pic for reference, and tried to follow it as closely as possible. For a human, however, the head turn is just too much; so I did a couple of other heads on the same page:
Then I did a cleaner version, with yet another try at the head:
And then I decided I didn't like that head, and replaced it with one from the first page, adjusting the size and the angle:
Now the next step will be to do a final cleanup, adding a flowered sundress(flowers, butterfly - get the picture?).
I'll post that cleanup next. By the way, the Pup is in the approximate pose of Thumper in the original.
And then the cleanup. This is done with a #2 pencil, and a blue Col-erase pencil for the dress. I did a little fixing here and there, as you see, moving the butterfly, for instance, so she could more easily see it, and raising her left pigtail higher on her head.
...and here's a closeup of her face, so you can see how 'clean' the cleanup is...I do a lot of cleaning after this point, but basically the line remains somewhat rough - I like the looseness I get that way. By the way, I scan at 300 dpi.
...这里有一个她的脸部的部分放大，所以你可以看到清理得有多清洁...我在这个步骤后做了很多清洁工作，但是基本上说线条还是有些粗糙的 - 我喜欢我那种方法得到的松垮。另外，我用300dpi扫描的。
NEXT...I take the paintbrush tool, select a red-brown color, and paint over the line using Overlay in the Options box. That takes care of, in Mandy's case, skin, hair, and shoes...then I take a golden yellow and do it again, at 50%, for her hair.
ALso red for the ribbons, green for the eyes, and a grayed blue for her underpants (NOTE: well, you probably already have...I've removed the dress, realizing I'll want to make it slightly transparent, and so will need another leverl for that.)
I have also slightly adjusted her head - it looked a little skewed to me this morning ( a night's sleep changes everything), so I simply selected it, chose Distort, and skewed it back the way I think it should be. Looks right now. Until morning, anyway.
Then I do the hair, eyes, lips, and ribbons - anything that will be a different color than skin. Why? No particular reason, it's just what I do. I'll use white for highlights, at varying opacity, and the same yellow as the hair, using Multiply, to darken other areas of the hair, as well as some red-brown and orange. Then I pick a skin color, starting with a warm, slightly yellowish tan, at perhaps 35%, and use the bucket tool to fill the face. Then I add a little magenta, but not too much to make it cool - 15%, and then in this case, that looked too dark, so I added some white.
Then I sample the face, and use the bucket (assuming all the lines are closed - which they weren't) to fill the rest of the body, and a slight blue with a bit of the flesh color for the pants.
All this takes longer to type and post than to do...
Next - shading. I'll leave the dog and butterfly for last, because I need to use the main figure as the touchstone - everything must work with her colors when she's finished, including the eventual forest background
Rendered version, no skirt yet. First I render the whole figure; then, when I do the skirt on another level, I can adjust the transparency.
This step has taken a lot of small steps, but if I'd posted them all, the differences would not be that great; better, I thought, to show the major difference, and then explain. So here goes. I do the rendering by using levels first, and flattening as I go along. I will choose a reddish brown again, and lay down a flat color in what I will want to be a shaded area, and then use the Gaussian Blur on it...this takes a little experimentation, and I change the setting depending on the amount of blur I want. Then it's just a matter of doing that over and over, flattening when I'm sure I want what I've done, and adding different colors - red, blue, purple, brown, black, to the skin for various shadows or tones, and white for highlights.
I usually put a white line around the edges of the figure - a broken line, of varied widths, sometimes disappearing in the darkest shadows - but I find that makes the figure pop and acts as an indication of backlight. The line is WITHIN the outline of the figure.
When the figure is rendered as I wish, I try one more effect - I make a copy of the figure level, choose the white BG area and delete it (and in this case, the butterfly and dog, too), and then do Image>Brightness/Contrast and darken it considerably. Doesn't matter how much, really, just so it's dark enough; I'll lighten it by taking down the opacity of that level when I'm done. Then I take a large, blurred edge brush on eraser setting, set to perhaps 50%, and take out areas on this darkened level that I want to appear as light. It's like painting with light. I'll bump up to 100% eraser for the lightest edges, and I usually make the eyes as bright as possible, even if the face is in shadow. Then I'll adjust the opacity of the level and that's where I am at this point.
当图形按照我期望的着色后，我尝试另一个效果，我做了一个图层拷贝，选择白色背景区，然后删除（在这个例子中包括蝴蝶和狗），再这样作：Image > Brightness/Contrast，做较多的暗化，真的不用担心多少，足够暗；我做完后，会通过降低那层的不透明度来加亮它。下面，我在擦除设置中选一个大的，边缘模糊的刷子，设置到50%，去处掉在这个暗化的图层中我期望表现为亮的区域。就好想使用光亮涂抹。我将为最亮的边缘，用一下子提高到100%的擦除工具，我通常让眼睛部分尽可能明亮。我还将调整现在我处理的层的不透明度。
Not sure about the color of this sundress, actually, but here it is.
Okay, here's what I think is the final version before the background. New, more energetic and less Jockian pup, slight changes here and there, and a more energetic breeze as well.
This is going to be made into a 3D print...I've been contacted by a gentleman in Oregon who has clued me into the amazing world of 3D. Not the simple 'anaglyph' (red/blue) ones I did and sold at the SD Con, but serious ones, made with great care and detail, and visible in two ways - one by crossing your eyes in the manner of those Magic Eye things which infested the Malls of America for a while a few years ago, but with single images instead of amazing and dopey shapes appearing out of unrelated pictures, and the other printed on cards and seen with viewers of the same sort as the old-time stereopican slides. He's done a few versions for me, including the Mandy with flower, and the effect is just terrific.
这将会制作成3D印刷……我联系了一位Oregon的绅士，他引导我进入神奇的三维世界。不是我做过的简单的浮雕（红/蓝）在SD角卖的那种，而是一个严肃的，细心的充满细节的制作，而且可以有两种方法看——一个是交叉双眼视线的方法，就像是几年前风行美国商场的魔术眼一样。但是是简单的图像，而不是一副图像从另一幅不相干的浮现出来。另一个方法是印刷在卡片上就像老式立体幻灯卡片那种类型。他为我做了一些版本，包括Mandy with Flower，效果真是太棒了。