摘要：
本文目錄有哪些動(dòng)漫人物比較適合繪畫初學(xué)者手繪動(dòng)漫人物繪畫簡(jiǎn)單可愛(ài)日式動(dòng)漫人物繪畫技巧一、有哪些動(dòng)漫人物比較適合繪畫初學(xué)者手繪... 本文目錄
一、有哪些動(dòng)漫人物比較適合繪畫初學(xué)者手繪
1、現(xiàn)在很多人都喜歡觀看動(dòng)漫。因?yàn)閯?dòng)漫中的角色千奇百怪，劇情也很腦洞大開(kāi)。仿佛在動(dòng)畫世界里什么樣的事情都會(huì)發(fā)生，所以就會(huì)給我們留下一些想象和遐想。這就是為什么越來(lái)越多的人喜歡看動(dòng)漫。不僅僅是動(dòng)漫，劇情千奇百怪，人物角色具有強(qiáng)烈的色彩。而且還有很多動(dòng)漫都成為了一代人回憶中的經(jīng)典片段。好像就是如此，每一代人都能說(shuō)出幾部自己童年回憶中的動(dòng)漫，都能回想起自己小時(shí)候或者年輕時(shí)光看動(dòng)漫的心情?，F(xiàn)在就是動(dòng)漫獨(dú)特的魅力，也是為什么有這么多人喜歡它的原因。
2、其次還有適合初學(xué)者手繪的動(dòng)漫人人物就是櫻桃小丸子。這部動(dòng)漫的人物形象線條也是比較簡(jiǎn)單。人物色彩運(yùn)用也是大面積的顏色填充。沒(méi)有那種特別細(xì)節(jié)的刻畫，所以是比較適合初學(xué)者臨摹的。其實(shí)早期的動(dòng)漫作品很多都是這一種人物形象線條比較簡(jiǎn)單的，而且色彩也是比較好填充的角色。你們都可以從中選擇一些自己喜歡的角色進(jìn)行手繪。
而且我覺(jué)得你們能夠通過(guò)手繪的方式來(lái)繪畫一些自己喜歡的動(dòng)漫人物也能夠更加了解一部動(dòng)漫從設(shè)計(jì)到制片再都不放，是一件比較辛苦的事。同時(shí)也能更加體會(huì)到這個(gè)動(dòng)漫所表現(xiàn)的人物形象到底是什么樣的。我覺(jué)得這是一次探索動(dòng)漫世界的好機(jī)會(huì)。
3、而且我覺(jué)得你們能夠通過(guò)手繪的方式來(lái)繪畫一些自己喜歡的動(dòng)漫人物也能夠更加了解一部動(dòng)漫從設(shè)計(jì)到制片再都不放，是一件比較辛苦的事。同時(shí)也能更加體會(huì)到這個(gè)動(dòng)漫所表現(xiàn)的人物形象到底是什么樣的。我覺(jué)得這是一次探索動(dòng)漫世界的好機(jī)會(huì)。
二、動(dòng)漫人物繪畫簡(jiǎn)單可愛(ài)
簡(jiǎn)單可愛(ài)的動(dòng)漫人物繪畫技巧如下：
1、選擇適合初學(xué)者的動(dòng)漫人物：初學(xué)者可以選擇一些簡(jiǎn)單可愛(ài)的動(dòng)漫人物作為練習(xí)對(duì)象，例如小熊、小兔、小狐貍等。這些動(dòng)漫人物通常比較簡(jiǎn)單，易于掌握日本冬季景點(diǎn)。
2、掌握基本比例：在繪制動(dòng)漫人物時(shí)，要遵循基本比例。通常來(lái)說(shuō)，頭身比是1：1或1：1.5。掌握好基本比例，能夠讓動(dòng)漫人物更加可愛(ài)。
3、突出動(dòng)漫人物特點(diǎn)：為了讓動(dòng)漫人物更加可愛(ài)，可以突出他們的特點(diǎn)，例如大眼睛、小嘴巴、圓潤(rùn)的臉龐等。
4、注意細(xì)節(jié)：在繪制動(dòng)漫人物時(shí)，要注意細(xì)節(jié)處理。例如衣物的紋理、發(fā)型、飾品等，都可以讓動(dòng)漫人物更加生動(dòng)可愛(ài)。
5、練習(xí)線條：掌握好線條的運(yùn)用是繪制可愛(ài)動(dòng)漫人物的關(guān)鍵。要練習(xí)畫出流暢的線條，避免出現(xiàn)斷線、毛糙等問(wèn)題。
6、多加練習(xí)：要想提高自己的繪畫技巧，需要多加練習(xí)?？梢哉乙恍├L畫素材進(jìn)行臨摹練習(xí)，也可以自己創(chuàng)作一些簡(jiǎn)單的動(dòng)漫人物。
1、興趣導(dǎo)向：首先，考慮你對(duì)哪些動(dòng)漫人物或類型最感興趣。是喜歡熱血少年、軟萌妹子，還是冷酷大叔？對(duì)于你感興趣的角色或類型，你會(huì)更有熱情去創(chuàng)造和研究。
2、個(gè)人特質(zhì)匹配：思考你的個(gè)人特質(zhì)和風(fēng)格與哪些動(dòng)漫人物相匹配。例如，如果你是一個(gè)喜歡安靜的人，可能會(huì)喜歡畫一些文靜優(yōu)雅的角色；如果你是一個(gè)熱情開(kāi)放的人，可能會(huì)喜歡畫一些活潑開(kāi)朗的角色。
3、挑戰(zhàn)與學(xué)習(xí)：選擇一些具有一定挑戰(zhàn)性的動(dòng)漫人物，幫助自己提高繪畫技巧。例如，如果你對(duì)人物畫不太熟悉，可以嘗試畫一些復(fù)雜的人物角色，如《火影忍者》中的角色。
4、多樣性：嘗試畫不同類型的動(dòng)漫人物，可以豐富你的繪畫經(jīng)驗(yàn)和技能。從可愛(ài)的Q版角色到寫實(shí)的角色，從簡(jiǎn)單的線條畫到復(fù)雜的細(xì)節(jié)畫，都可以嘗試。
5、持續(xù)學(xué)習(xí)和改進(jìn)：無(wú)論你選擇哪種類型的動(dòng)漫人物，都要持續(xù)學(xué)習(xí)和改進(jìn)自己的繪畫技巧?？梢詤⒖计渌嫀煹睦L畫技巧和風(fēng)格，或者參加繪畫課程或工作坊，不斷提升自己的繪畫水平。
三、日式動(dòng)漫人物繪畫技巧
1、
2、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:
3、我曾經(jīng)一時(shí)冒出一個(gè)主意來(lái)畫一張根據(jù)取自Bambi中的著名場(chǎng)景制作的Mandy的圖片。所以我搞了把Google搜索，找到了參考圖片，并且嘗試盡可能完全地參考它。然而作為一個(gè)人的頭扭轉(zhuǎn)太多了，因此我在同一頁(yè)上畫了一對(duì)別樣的頭部：
4、Then I did a cleaner version, with yet another try at the head:
5、然后我畫了一個(gè)更清楚地版本，同時(shí)在頭部作了另一個(gè)嘗試:
6、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:
7、然后我認(rèn)為我不喜歡那個(gè)頭部，并且用第一頁(yè)的一個(gè)替代，還調(diào)整尺寸和角度:
8、Now the next step will be to do a final cleanup, adding a flowered sundress(flowers, butterfly- get the picture?).
9、 I'll post that cleanup next. By the way, the Pup is in the approximate pose of Thumper in the original.
10、現(xiàn)在，下一步是做一些最后的清潔，加一個(gè)花花夏裝（花，蝴蝶——看到圖片了？）
11、我將隨后貼出那個(gè)清理的圖片。順便說(shuō)一句，小狗的姿勢(shì)是原圖近似。
12、 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.
13、下面是清理。這步使用#2鉛筆和一個(gè)藍(lán)色帶橡皮的鉛筆畫衣服。我在一些地方做了小修改，你可以看出來(lái)，比如，移動(dòng)了蝴蝶，這樣她可以更容易地看著它，并且把她頭上左邊的豬尾巴提高一些。
14、...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.
15、...這里有一個(gè)她的臉部的部分放大，所以你可以看到清理得有多清潔...我在這個(gè)步驟后做了很多清潔工作，但是基本上說(shuō)線條還是有些粗糙的-我喜歡我那種方法得到的松垮。另外，我用300dpi掃描的。
16、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.
17、下一步...我使用畫筆工具，選擇紅棕色，在工具箱選擇覆蓋來(lái)涂抹線條。在Mandy例子中，要注意皮膚、頭發(fā)和鞋子...然后我使用50%金黃色重新涂一遍頭發(fā)。
18、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.)
19、還有絲帶用紅色，眼睛用綠色，還有內(nèi)衣褲用藍(lán)灰色（注意：還有，你可能已經(jīng)...我已經(jīng)去除了衣服，意識(shí)到我要把它弄得有一點(diǎn)透明，所以為此需要另一層）。
20、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:
21、我曾經(jīng)一時(shí)冒出一個(gè)主意來(lái)畫一張根據(jù)取自Bambi中的著名場(chǎng)景制作的Mandy的圖片。所以我搞了把Google搜索，找到了參考圖片，并且嘗試盡可能完全地參考它。然而作為一個(gè)人的頭扭轉(zhuǎn)太多了，因此我在同一頁(yè)上畫了一對(duì)別樣的頭部：
22、Then I did a cleaner version, with yet another try at the head:
23、然后我畫了一個(gè)更清楚地版本，同時(shí)在頭部作了另一個(gè)嘗試:
24、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:
25、然后我認(rèn)為我不喜歡那個(gè)頭部，并且用第一頁(yè)的一個(gè)替代，還調(diào)整尺寸和角度:
26、Now the next step will be to do a final cleanup, adding a flowered sundress(flowers, butterfly- get the picture?).
27、 I'll post that cleanup next. By the way, the Pup is in the approximate pose of Thumper in the original.
28、現(xiàn)在，下一步是做一些最后的清潔，加一個(gè)花花夏裝（花，蝴蝶——看到圖片了？）
29、我將隨后貼出那個(gè)清理的圖片。順便說(shuō)一句，小狗的姿勢(shì)是原圖近似。
30、 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.
31、下面是清理。這步使用#2鉛筆和一個(gè)藍(lán)色帶橡皮的鉛筆畫衣服。我在一些地方做了小修改，你可以看出來(lái)，比如，移動(dòng)了蝴蝶，這樣她可以更容易地看著它，并且把她頭上左邊的豬尾巴提高一些。
32、...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.
33、...這里有一個(gè)她的臉部的部分放大，所以你可以看到清理得有多清潔...我在這個(gè)步驟后做了很多清潔工作，但是基本上說(shuō)線條還是有些粗糙的-我喜歡我那種方法得到的松垮。另外，我用300dpi掃描的。
34、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.
35、下一步...我使用畫筆工具，選擇紅棕色，在工具箱選擇覆蓋來(lái)涂抹線條。在Mandy例子中，要注意皮膚、頭發(fā)和鞋子...然后我使用50%金黃色重新涂一遍頭發(fā)。
36、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.)
37、還有絲帶用紅色，眼睛用綠色，還有內(nèi)衣褲用藍(lán)灰色（注意：還有，你可能已經(jīng)...我已經(jīng)去除了衣服，意識(shí)到我要把它弄得有一點(diǎn)透明，所以為此需要另一層）。
38、 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.
39、我還稍微調(diào)整了她的頭——今早它看起來(lái)有點(diǎn)兒朝我這歪斜（睡一晚上改變了所有的事情哦），所以我很簡(jiǎn)單地選擇頭部，然后選擇“扭曲”，然后把它朝我認(rèn)為應(yīng)該的方向傾斜回來(lái)?，F(xiàn)在看看就對(duì)羅。無(wú)論如何，到早晨時(shí)是這樣。日本十大景點(diǎn)
40、 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.日本岡山景點(diǎn)
41、然后我處理頭發(fā)、眼睛、嘴唇還有絲帶——所有的都和皮膚顏色不同。為什么？沒(méi)有特殊原因，我就是這么做了唄。我要是用白色作為高光，變化不透明度，再使用和頭發(fā)一樣的黃色，應(yīng)用Multiply，暗化頭發(fā)的其它部分，就像是紅棕色和橙色。然后我選了一個(gè)皮膚的顏色，暖色調(diào)的微微發(fā)黃的棕褐色，大概35%，然后使用涂料桶工具開(kāi)始填充臉部。再往后，我加了一些品紅色，不過(guò)不多，使之冷一些——15%，在這個(gè)例子中看起來(lái)有些暗了，所以我加了一些白色。
42、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.
43、我在臉部取樣，使用油漆桶（假設(shè)所有的線條都閉合了——其實(shí)不會(huì)）來(lái)填充剩余的身體部分，短褲使用帶一些肉色的淡藍(lán)色。
44、All this takes longer to type and post than to do...
45、 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
46、所有這些花了比畫更長(zhǎng)的時(shí)間來(lái)打字和粘貼……
47、下一步——陰影。我將把狗和蝴蝶放在最后，因?yàn)槲倚枰褂弥鹘亲鳛闃?biāo)準(zhǔn)——完成的時(shí)候所有東西必須配合她的色彩，包括最后的叢林背景。
48、 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.
49、渲染過(guò)的版本，還沒(méi)有裙子。首先我給整個(gè)圖案著色，之后當(dāng)我在另一層上描繪裙子的時(shí)候我就可以調(diào)整透明度。
50、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.
51、這一步包括很多小步驟，但如果我貼出來(lái)所有的步驟，區(qū)別將不會(huì)很明顯。所以我想還是把主要的區(qū)別展示出來(lái)比較好，然后解釋。我也就這么做了。我著色首先使用層，然后如果自己覺(jué)得可以了，就拼合圖層。我還會(huì)再選擇一個(gè)泛紅的棕色，然后涂上單色調(diào)顏色在我認(rèn)為應(yīng)該有陰影的地方，然后對(duì)陰影應(yīng)用高斯模糊……這個(gè)需要一些實(shí)驗(yàn)，我根據(jù)我想要的模糊值改變?cè)O(shè)置，下面就是重復(fù)這種步驟。當(dāng)我確定我搞好了，就拼合，然后加入一些不同的顏色，紅、藍(lán)、紫、棕、黑，給皮膚不同的陰影和色調(diào)，白色給高光。
52、 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.
53、我通常放一些白線條圍繞圖形邊緣——一個(gè)斷開(kāi)的有不同寬度的線條，通常會(huì)在最暗的陰影處消失——但是我發(fā)現(xiàn)那使圖案突出而且表現(xiàn)為背光痕跡。這個(gè)線條嵌在角色的輪廓中。
54、 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.
55、當(dāng)圖形按照我期望的著色后，我嘗試另一個(gè)效果，我做了一個(gè)圖層拷貝，選擇白色背景區(qū)，然后刪除（在這個(gè)例子中包括蝴蝶和狗），再這樣作：Image> Brightness/Contrast，做較多的暗化，真的不用擔(dān)心多少，足夠暗；我做完后，會(huì)通過(guò)降低那層的不透明度來(lái)加亮它。下面，我在擦除設(shè)置中選一個(gè)大的，邊緣模糊的刷子，設(shè)置到50%，去處掉在這個(gè)暗化的圖層中我期望表現(xiàn)為亮的區(qū)域。就好想使用光亮涂抹。我將為最亮的邊緣，用一下子提高到100%的擦除工具，我通常讓眼睛部分盡可能明亮。我還將調(diào)整現(xiàn)在我處理的層的不透明度。
56、 Not sure about the color of this sundress, actually, but here it is.
57、其實(shí)不太確定這夏裝的顏色，不過(guò)它就在這里了。
58、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.
59、好了，這就是我認(rèn)為是最終版本了，除了背景。有些新的小變化，還有更生動(dòng)的微風(fēng)。
60、 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.
61、這將會(huì)制作成3D印刷……我聯(lián)系了一位Oregon的紳士，他引導(dǎo)我進(jìn)入神奇的三維世界。不是我做過(guò)的簡(jiǎn)單的浮雕（紅/藍(lán)）在SD角賣的那種，而是一個(gè)嚴(yán)肅的，細(xì)心的充滿細(xì)節(jié)的制作，而且可以有兩種方法看——一個(gè)是交叉雙眼視線的方法，就像是幾年前風(fēng)行美國(guó)商場(chǎng)的魔術(shù)眼一樣。但是是簡(jiǎn)單的圖像，而不是一副圖像從另一幅不相干的浮現(xiàn)出來(lái)。另一個(gè)方法是印刷在卡片上就像老式立體幻燈卡片那種類型。他為我做了一些版本，包括Mandy with Flower，效果真是太棒了。
62、我覺(jué)得教的一些基礎(chǔ)最實(shí)用了不管是美式還是日式的，基礎(chǔ)學(xué)好，都通用。
