很有意思的教程，大概翻译了一下，凑合看吧

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:
我曾经一时冒出一个主意来画一张根据取自Bambi中的著名场景制作的Mandy的图片。所以我搞了吧Google

搜索，找到了参考图片，并且尝试尽可能完全的的参考它。然而作为一个人的头扭转太多了，因此我在同

一页上画了一对别样的头部：

Then I did a cleaner version, with yet another try at the head:
然后我画了一个更清楚地版本，同时在头部作了另一个尝试

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:
然后我认为我不喜欢那个头部，并且用第一页的一个替代，还调整尺寸和角度

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.
现在，下一步是做一些最后的清洁，加一个花花夏装（花，蝴蝶——看到图片了？）
我将随后贴出那个清理的图片。顺便说一句，小狗的姿势是原图近似。

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.
下面是清理。这步使用#2铅笔和一个蓝色带橡皮的铅笔画衣服。我一些地方做了小修改，你可以看出来，

比如，移动了蝴蝶，这样她可以更容易的看着它，并且可以提高她的左边猪尾巴高过她的头。

...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的有多清洁...我在这个步骤后作了很多清洁工

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.
下一步...我使用画笔工具，选择红棕色，在工具箱选择覆盖来涂抹线条。在Mandy例子中，要注意皮肤头

发和鞋子...然后我使用50%金黄色重新涂一遍头发。

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.)
还有丝带用红色，眼睛用绿色，还有内衣裤用蓝灰色（注意：还有，你可能已经...我已经去除了衣服，

意识到我要把它弄得有一点透明，所以为此需要另一层）

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.
我还稍微调整了她的头——今早它看起来有点儿朝我这歪斜（睡一晚上改变了所有的事情哦），所以我很

简单的选择头部，然后选择“扭曲”，然后把它朝我认为应该的方向倾斜回来。现在看看就对罗，再到早

上也是。

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.
然后我处理头发、眼睛、嘴唇还有丝带——所有的都和皮肤颜色不同。为什么？没有特殊原因，我就是这

么做了呗。我要是用白色作为高光，变化不透明度，再使用和头发一样的黄色，应用MULTIPLY，暗化头发

的其它部分，就像是红棕色和橙色。然后我选了一个皮肤的颜色，暖色调的微微发黄的棕褐色，大概35%

，然后使用涂料通工具开始填充脸部。再往后，我加了一些品红色，不过不多，使之冷一些——15%，在

这个例子中看起来有些暗了，所以我家了一些白色。

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.
我在脸部取样，使用油漆桶（将设所有的线条都闭合了——其实不会）来填充剩余的身体部分，短裤使用

带一些肉色的淡蓝色。

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
所有这些花了比画更长的时间来打字和粘贴……
下一步——阴影。我将把狗和蝴蝶放在最后，因为我需要使用主角作为标准——完成的时候所有东西必须

配合她的色彩，包括可能的丛林背景

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.
渲染过的版本，还没有裙子。首先我给整个图案着色，之后当我在另一层上描绘裙子的时候我就可以调整

透明度。

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.
这一部包括很多小步骤，但如果我贴出来所有的步骤，区别将不会很明显。所以我想还是把主要的区别展

示出来比较好，然后解释。我也就这么做了。我着色首先使用层，然后如果自己觉得可以了，就拼合图层

。我还会再选择一个泛红的棕色，然后涂上单色调颜色在我认为应该有阴影的地方，然后对阴影应用高斯

模糊……这个需要一些实验，我根据我想要的模糊值改变设置，下面就是重复这种步骤。当我确定我搞好

了，就拼合，然后加入一些不同的颜色，红、蓝、紫、棕、黑，给皮肤不同的阴影和色调，白色给高光。

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.
我通常放一些白线条围绕图形边缘——一个断开的有不同宽度的线条，通常会在最暗的阴影处消失——但

是我发现那使图案突出而且表现为背光痕迹。这个线条嵌在角色的轮廓中。

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），在这样作：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的明亮。我还将调整现在

我处理的层的不透明度。

Captain Genius - The Overlay option is under Mode at the top (in PS 7, or wherever it used

to be in earlier versions) when you have the Brush tool selected. The default setting is

Normal, and it contains Multiply, which I use all the time for painting, too. These settings

are also on the Layers pallette, at the top. Again, look for Normal.
天才领导——当你选中刷子工具的时候，覆盖选项在顶端的模式中（在PS7中，或者早期版本的传统位置

）。默认的设置是“正常”，选项包括乘法，就是我在画图所有时间也是用到的。这些设置也位于层调色

板，在顶端。再次找到“正常”

Tony - it's awfully hard to tell someone how to draw...you can post your drawing here and

have it critiqued by lots of artists, if you want. But as for telling you how to do facial

features and such, I guess you're looking for the old 'draw an egg with a center line'

thing. There are many books on drawing, but if you're serious about it, take a drawing

class. There's one near you, wherever you are.
托尼——告诉某人如何画是非常难的……你可以贴出你的图画在这里然后等着许多画家批评，如果你想的

话。但是关于告诉你如何处理面部特征，我猜你会找老的“使用中心线画鸡蛋”之类。有很多关于画画的

书，但是如果你是认真的，参加一个绘画班。不论你在哪里，你附近总会有一个。

Not sure about the color of this sundress, actually, but here it is.
其实不太确定这夏装的颜色，不过它就在这里了。

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!
Brynmr——这不是我使用的对比，这是亮度控制。 我做了有主要图像的第二层，有主角，没有背景，还

有暗化的角色和亮度控制，然后擦除暗化图像的一部分，以得到高光，最后调整那一层的不透明度。那是

你做的？或者你加了高光而不是减去阴影？不管怎么样，起作用就行，你的材料有很好的明暗感。

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.
好了，这就是我认为是最终版本了，除了背景。有些新的小变化，还有更生动的微风。

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.
这将会有制作成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。

somecat：我代表手绘工厂的全体弟兄向你致谢！这个教程我大概看懂了70％，哈，一些句子还是比较生疏，看到熟悉的软件用语还是能够知道上下文。所以没有翻译，怕误人子弟。

再次感谢你的翻译和热情，以后有时间多来这边转转，如果有E文教程和文章还要麻烦你～～～

thanks again, you are really something!