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:


图片如下：

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.



图片如下：

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.



图片如下：

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.



图片如下：

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.


图片如下：


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.

Brynmr - it's not the contrast I use, it's the brightness control. I make a second level with the main image on it, just the figure, no BG, and darken the character with the brightness control and then erase parts of that darkened image to get the highlights, and finally adjust the opacity of that level. Is that what you do, or are you ADDING highlights, rather than SUBTRACTING shadows? Whatever, it works - your stuff had a great sense of light and shadow!

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.



图片如下：

comfill在上个帖子中说

引用:

---

怎么都是E文的啊，谁给翻译一下啊

---

———————————————————————————————————————
版主呀。给翻译一下吧。不懂哦。它认得我。我想我不晓得这是啥子什什。。。。。

很好哦```超级喜欢``