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[转载]《拳皇13》人气角色原画欣赏

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想起小时候在游戏厅里疯狂迷恋拳皇系列的游戏也很是怀念啊,没想到过去10多年,拳皇系列还一直经久不衰,不过很久很久没玩了。最喜欢的当然是不知火舞了,咳咳~。《拳皇XIII》(拳皇13)是1994年8月首度登场的老牌2D对战格斗游戏《拳皇》系列第13代最新作。



















































[转载]镜面反射与漫反射(大师James Gurney专辑)

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Specular and Diffuse Reflection
高光与漫反射

作者:James Gurney(自己百度)
翻译:DylanZhang(http://blog.sina.com.cn/ts152154539)
(译者注:for personal study purpose,I translate this article by James Gurney。I am grateful to James for his share。 Commercial purposes is not permitted!
出于个人学习目的,我翻译了James Gurney的这篇文章。衷心感谢James分享的知识。切勿用于商业用途!

In specular reflection, light rays bounce off the surface of an object at the same relative angle that they approached it. In diffuse reflection, light rays bounce off in many directions.
在镜面反射中个,光线从物体表面反弹回的反射角与入射角相同。漫反射中,光线则向任何方向发生反射。


For example, under normal conditions a rooftop has a matte surface which reflects the light diffusely. The rooftops in the painting on the left show diffuse reflection on a dry, sunny day. The sketch on the right shows slate rooftops after a rainstorm. The thin surface of water remaining on the rooftops now reflects the light more specularly.
比如,在通常情况下,不光滑的matte屋顶发生漫反射。左侧绘画中表现的是屋顶在日光下发生漫反射。右侧的草稿表现了暴雨后光滑slate的石板瓦屋顶。留在屋顶上薄薄的一层水使得反射更像镜面反射。

“Speculum” is Latin for mirror; the rooftops in the second sketch do act more like a mirror, revealing reflections of the dark chimneys.
“speculum”在拉丁文中式镜子的意思。第二张图中的屋顶更像镜子,反射了深色烟囱的影像。

Many surfaces are a combination of specular and diffuse reflections. When you polish a shoe or an apple, what you’re doing is increasing the relative proportion of specular versus diffuse reflection.
很多表面即会发生镜面反射也会发生漫反射。当你擦亮鞋子或者苹果是,你做的正是增加镜面反射与漫反射的相对比值(意即表面会更多地发生镜面反射)。

Whether you’re rendering digitally or traditionally, you can think of the specular pattern as a separate layer added on top of the usual form-modeling factors that you would use to render a matte object. In the 3D realm, surface modelers have to consider the normal modeling factors that you would study on a plaster cast plus the specular effects.
不管你是用数码还是传统方式绘画。你可以设想把高光上的反射图案当做独立的一层置于其他所有你用来表现这个物体的因素之上(这段有点绕,意思就是可以把高光上的反射图像放到最后画)。在3d领域,建模人员必须考虑常规的素描关系——即石膏模型plaster cast上所学到的——和镜面反射效果。

(译者注:这里的高光specular与我之前所理解的不一样(还有个叫highlight,我感觉是一个意思)。具体解释另一篇文章中有讲述。举个简单的例子,石膏表面并不存在高光specular,只能说是最亮的亮部,因为石膏是非镜面体,几乎完全发生漫反射。而高光specular是指发生镜面反射所产生的,通常带反射而得的周围影像。这与我不久前翻译的一个3d软件渲染设置的理念是一样的。)

[转载]光与形体1(大师James Gurney专辑)

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Light and Form, Part 1
作者:James Gurney(恐龙帝国)
翻译:DylanZhang(http://blog.sina.com.cn/ts152154539)
(译者注:for personal study purpose,I translate this article by James Gurney。I am grateful to James for his share。 Commercial purposes is not permitted!
出于个人学习目的,我翻译了James Gurney的这篇文章。衷心感谢James分享的知识。切勿用于商业用途!


翻译完了没保存真不爽啊,我就捡重点。

Light striking a geometric solid such as a sphere or a cube creates an orderly and predictable series of tones. Learning to identify these tones and to place them in their proper relationship is one of the keys to achieving a look of solidity.
光打到几何体比如球体或者立方体上产生了一系列有序的调子。学会分辨这些调子并且把它们以合适的关系组织起来就会让东西看起来很立体。

The form principle is the analysis of nature in terms of geometrical solids, which can be rendered according to laws of tonal contrast.

Modeling Factors(我真不知道这个术语叫啥,意思上是素描关系)
The photograph above shows a sphere in direct sunlight. It has a distinct set of tonal steps from light to shadow, known as modeling factors.
照片展示了直射阳光下的球体。它从亮部到暗部的调子泾渭分明。这个就是素描关系。

In direct sunlight, there’s a strong division of light and shade. The light side includes the light and dark halftones, the center light, and the highlight. The center light is the point at which the light rays strike the form most vertically. The highlight is the point where, in a shiny surface, we see a reflection of the light source.
直射光下,光与影区分明显。亮区域包括亮和暗的中间调,中央光区,高光。(译者:这里和我们说的五大调子理解上稍有不同)。中央光区就是光线垂直打到物体表面的那个部分。高光区是光滑表面上我们看见光源反射的那个点(译者:注意是光滑表面上——其实就是镜面反射的意思,请参见讲反射的那篇——比如擦干净的苹果。但我觉得石膏也是具备光滑属性,只是值很低,所以高光不如金属亮,也没有镜面反射。了解3d的会更好理解)

Note that the center light and highlight are not at the same location. The Terminator The terminator is the area where the form transitions from light into shadow. It occurs where the light rays from the source are tangent to the edge of the form. If the source is soft and indirect, the transition from light to shadow at the terminator will be more gradual. The form shadow begins just beyond the terminator.
注意中央光和高光的位置是不一样的。明暗交界线是物体从亮部转入暗部的区域。这个就是光线和表面相切。假如光源柔和非直射,那么明暗交界线上从亮部转入暗部的变化也更柔和趋于渐变(反之强光下则显得比较锐利))。明暗交界线后方就是物体投影的开始啊

To test which areas are in light and which are in shadow, you can cast a shadow with a pencil on the object. The cast shadow will show up only on the lighted side, not on the shadow side.

[转载]光与形体2(大师James Gurney专辑)

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Light and Form, Part 2
作者:James Gurney
翻译:DylanZhang(http://blog.sina.com.cn/ts152154539)

译者:在开始第二篇前我想谈一些自己的看法。在第一篇之后想必一些人会有点困惑,我也是,一些老外读者也是。于是我再仔细看了遍原文下方老外的评论和james自己的发言,然后稍加分析,一切就彻底明了了。我是一个习惯吧简单事情做复杂的人,所以这种基本问题我也会耗点时间。回报就是纠正并补全了我以往的认识。我想困惑就我而言来自2点,一是center light 和highlight,二是terminator(明暗交界)和core shadow(再过明暗交界一点最暗的那个部分)。我一直认为亮部中有个高光,但实际上他们不在一个位置(除非光的方向和眼睛看的方向是一个角度),另外可能是这个术语的翻译不准确导致我们理解成了另外的东西,所以请务必先把自己清0再去学新东西,哪怕是重新看待已知的东西。关于center light 和highlight的定义第一篇很明确了,我想只要想象一个顶视图就能搞清。第二个问题,我一直以为明暗交界线是最暗的部分,实际上,如果一个空间中只有一个光源而且没有周围环境反射的话确实是这样,而且整个暗部都是。但是还有环境反光,这个环境反光必然又制造了一个暗部,那么最暗的部分应该是明暗交界再过去一点的那个部分(此时我想起了xiaoK在画素描头像时说的话,大悟!)。更多解释在后面内容中。关于这些,不同的人有不同理解,我记得陈层c大说打了个主光一个反光明暗交界线自己就出来了。

Within the shadow is not darkness but the effect of other, weaker sources.
在阴影中的不是黑暗,而是来自其他东西的影响,譬如微弱的光源。

In the case of the drapery study above, drawn in graphite while I was in art school, the key light strikes the form from the left. You can tell it’s a hard source because of the sharp diagonal cast shadow line. Overhead fluorescents, only slightly less bright, illuminate the shadow side.

The drapery study has the look of an academic exercise partly because it is "overmodeled" which means the tendency to put the full range of modeling factors within each passage.

Outdoors, the blue light from the sky usually modifies the shadow planes, depending on how much they face upward. Reflected light often raises the tone of the shadow. It comes from light bouncing up off the ground surface or from other surfaces. The darkest parts of the shadow are usually at points of contact, called occlusion shadows, where secondary sources can't reach.
在户外,来自天空的蓝色光通常缓和投影面,取决于他们朝下的程度。反光来自地面上光的反射或者其他表面,通常提起暗部的调子。投影里最暗的地方通常是物体相接点(见第一篇的图),叫occlusion shadows(恕我没有对应的中文术语,不过熟悉3d的人都知道occlusion是个啥,环境阻塞?),这些地方呢,第二光源也打不到。
Another dark part of the shadow is the area just beyond the terminator. This area is called the core or the hump of the shadow. The core of the shadow only forms if the secondary source of light (edge light, reflected light, or fill light) doesn’t overlap too much with the main light.
暗部里另外一个很暗的地方就是明暗交界线过去点。叫 core of shadow,或者core shadow,或者hump,whatever。只有当第二光源(轮廓光,反射光,补光)和主光重叠不是太多的时候才会形成这个core shadow。

In “Daniel in the Lion’s Den,” by Rubens, a strong orange-colored reflected light fills the shadow side of Daniel’s form, all the way from his cheek and neck, down his arm and his leg. Keeping the core intact—or painting it in even if it’s not really there—can give the form more impact, but if it’s overdone it can look unnatural.
上副油画中,一个很强的橘色反光照亮了主人公丹尼尔的暗部,一直从脸颊到脖子到手臂到腿。保持core shadow的完整,或者即便不存在也画上它,可以让形体看起来更有冲击力,但是做过了就会不自然了。(老师一直强调的这条线啊啊,不过貌似很多人当它是明暗交界线,其实要再过去一点点,whatever)
If you’re setting up a model or maquette, you can place the primary and secondary lights just far enough apart so that you can see the core beginning to form.

[转载]光与形体3(大师James Gurney专辑)

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Light and Form, Part 3
作者:James Gurney
翻译:DylanZhang(http://blog.sina.com.cn/ts152154539)


In soft or diffuse light, such as overcast light, there is no distinct light side, shadow side, terminator, or core. All of the upward facing planes tend to be lighter, since they receive more of the diffused light from the cloudy ceiling.
在柔光或者漫射光下,比如多云的阴天里,就没有明显的亮部,暗部,明暗交界线和那个core(具体解释见第二篇)。由于接收更多多云环境里的漫射光,所有朝上的面显得更亮。


The photograph of the ball shows the quality of overcast light. The cast shadow has no definite edge. There’s no clear division between light and shadow unless the form turns on a hard edge.
照片显示了阴天环境下的球体表面情况。投影没有明确的边。在亮部和暗部间没有明确的分界,除非这个形体是以硬边转折的。


Here’s an example of overcast light falling on the figure of David Balfour in the N. C. Wyeth illustration “On the Island of Earraid,” from Kidnapped. The planes of the figure’s skin and clothing get lighter where they face more toward the light sky. (The sharp tonal changes in the background are dramatic plane changes in the rock.)
这是N. C. Wyeth插画中的一个画面,里面的主人公David就身处阴天的光环境下。人物的皮肤和衣服更朝天空的地方显得亮一点。(背景中那块大岩石调子的剧烈变化是因为那个面转折很强烈)。


Another example of overcast light is this portrait of a girl by William Bouguereau. The form doesn’t have a light side and a shadow side in the conventional sense. The vertical plane of the dress and the upper arm are both darker than the forearm and the leg of the dress, which catch more light because they face more upward.
另一个例子就是William Bouguereau的女孩画像。画中人物形体没有传统感觉里的亮部和暗部。裙子的竖直面和上臂都比前臂和大腿那个面显得暗,因为前臂和包裹大腿的裙子面朝上吸收更多的光。

The coolness of this light source is evident from the relatively warm shadow under the chair. Occlusion shadows require especially careful attention in diffuse light, often appearing as notably sharp accents in the work of Bouguereau and Rockwell.
光源的冷色与椅子下暖色的影子相比很明显。在漫射光中,需要更加注意occlusion shadow(另一篇讲occlusion shadow的文章中有详解),在Bouguereau 和 Rockwell的作品中,这个occlusion shadow通常以一个明显的急转的调子出现。

[转载]有色光与形体(大师James Gurney专辑)

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Colored Light and Form
作者:James Gurney
翻译:DylanZhang(http://blog.sina.com.cn/ts152154539)

When two lights of different colors illuminate a form, the lit areas interact with each other in unexpected ways.
当两盏不同色的光照到一个物体,照亮的区域以意想不到的方式互相影响。


In this oil sketch of a white head maquette, an amber-tinted light shines from below left, while a blue-tinted light comes from almost the opposite angle.
在这张白色头部模型的油画小稿中,一盏琥珀色的光从左下方照来,一盏蓝色光从几乎相反的方向照来。

There’s almost no overlap between the regions lit by each of the lights. One light or the other covers almost every surface of the head. There are just a couple of small places untouched by either light: the dark area where the nose meets the eye socket, and the hollows above and below the ear.
两盏灯所照亮的区域几乎没有重叠。两盏灯光覆盖了头部几乎所有的区域。只有一些小角落都没被照到:鼻子和眼窝交界的地方,耳朵上方和下方的凹陷。


This maquette is lit by two colored lights. One is yellow-green, and one magenta. The lights are placed closer together, so the illuminated areas overlap on the top of the head, the brow, and the cheekbone plane. In these shared areas, the colors mix to a pale yellowish white, brighter in tone than the lightest tones in each of two regions lit by one light only.
这个模型被两盏有色灯照亮。一盏是黄绿色的,一盏洋红的。两盏等放的更近点,所以头部上方、眉毛、颧骨的光照区域重叠。在这些重叠区域,颜色混合成微黄的白色,在明度上比两个被单光照射的区域的最亮的地方还要亮点(光色相加,能量相加)


Here's another casting of the plaster head covered with silver aluminum powder. The surface now has a high level of “specularity” or reflectivity.
这是另外一个石膏像,表面覆盖有银色铝粉。这样表面的反射率就越强,越趋向于镜面反射。
What happens with colored light on a reflective surface? Even with three different light sources (green, red-violet, and blue), the lights don’t really mix very much on the planes of the head. Instead, each light source accounts for a separate array of specular highlights.
那么有色光照到反射表面会怎么样呢?即使有三个不同光源(绿色,紫红,蓝色),光也不怎么在头部表面发生混合,而是每个光源分别有各自的高光。
Remarkably, our brains are able to construct an understanding of form based on these fragmentary bits of information.
显著的是,我们的大脑能够基于这些零散的信息构建出对形状的理解。

But if we remove the color clues (and flop the image for a fresh look), the form is much harder to visualize. The highlights seem like random light spots on a dark head. This illustrates a key recent finding of visual perception researchers, namely that color plays a central role in the brain's active construction of form and depth, and is not—as is often supposed—a kind of extra frosting on perception.
但是当我们去掉颜色(并且咋看之下),这个形体就不那么形象化。这些高光点就像暗色头部上的随机亮点。这阐明了视觉感知研究领域最近的重要发现,即,色彩在大脑主动构建形体和深度时扮演了主要角色,

[转载]光的衰减(大师James Gurney专辑)

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Fall-Off
作者:James Gurney
翻译:DylanZhang(http://blog.sina.com.cn/ts152154539)

The brightness of any point-source illumination diminishes rapidly with distance. This weakening of light is called fall-off.
任何点光源的光照亮度随着距离增加会迅速衰减。这个就叫光的衰减。

It diminishes according to the inverse square law, which states that the effect of a light shining on a surface weakens at a rate comparable to the square of the distance between source and surface.
光的衰减遵循负二次方定律,(下面的长句拗口了,不过大家懂的)
As the diagram above demonstrates, at twice the distance, the light is only one fourth as bright because the same rays must cover four times the area. At three times the distance, it drops to one ninth as bright.
如上图所示,距离光源距离加倍后,因为光线要覆盖四倍的区域,所以单位受光只有四分之一。当距离变为3倍后,亮度衰减为九分之一。

译者:原帖的讨论中,有老外表示不解,其实就是日光不遵循这个原理。因为太阳离地球的距离,所以这种衰减可以忽略不记。还有老外谈到激光,但是记住,激光不是点光源,激光的光线是平行束,能量耗散少。熟悉3d的同学对point light应该更容易理解。所以一些类似于点光源的光源(比如条形的日光灯管)也只是大约遵循这个定律。
下方是一些拥有不同衰减曲线的灯光。在3d软件中可以更精准地控制。





[转载]投影1(大师James Gurney专辑)

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Cast Shadows, Part 1
作者:James Gurney
翻译:DylanZhang(http://blog.sina.com.cn/ts152154539)

When a form intercepts a parcel of direct light, it projects or casts a shadow onto whatever lies behind it.
当有物体阻挡了直射光,它就在他后面的任何东西上投下了阴影。

The resulting cast shadow can be a striking design element, as it was for Frank Brangwyn in one of his famous bridge paintings.
投射下的阴影可以作为一个醒目的设计元素,例如Frank Brangwyn所画的一张桥梁。


Sometimes forms outside the composition cast shadows onto the subject. The movement of the morning sun shifted the shadow fairly quickly over the Flatiron building.


Samuel Prout effectively used the cast shadow in this watercolor of the Palazzo Contarini in Venice.
Samuel Prout在他的这张水彩画Palazzo Contarini in Venice中有效地运用了投影。

The edge of the shadow shape follows the bold relief of the building. It also sets up opportunities for tonal design. Some figures are seen in light against shadow shapes, while other figures are in relative darkness against a bright background.
投影边缘顺着建筑上醒目的浮雕起伏。这也为设计调子创造了机会。从我们这个视角可以看到,一些人物处于阳光中但以投影为背景,一些人物处于相对较暗的地方但以明亮为背景

嗨!亲爱的朋友们,欢迎您光临我的BLOG

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  我已经在新浪BLOG安家了,欢迎你“常过来看看”,大家多多交流哦。我们可以一起把这里变成共同的心灵家园,像家一样温暖的地方。
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