牧游社 牧有漢化翻譯

CK3 Dev Diary #97: Event Illustration Showcase and Workflow

plundh, 2D Lead Artist

Hello! This Dev Diary is collectively written by members of the Art Team who work on these illustrations. We would like to share our process and some of the artistic choices that go into making these images.

大家好！本期開發(fā)日志由創(chuàng)作了文中插畫的美工組成員們集體寫成。我們希望向大家分享我們的工作流程，以及在創(chuàng)作出這些圖像時在藝術(shù)上所做的一些選擇。

If you would like to see more of our excellent 2D Artists' work, we are launching a Displate contest starting today and running until the launch of Flavor Pack 2 on May 31. This contest will provide the winners with either a Displate of their own or a discount code for a few more lucky winners. In the meantime, you can check out our Displate collection HERE.

想要欣賞由我們2D美術(shù)師們所創(chuàng)作的更多畫作嗎？從今天開始直到5月31日風味包發(fā)布之日止，我們舉辦了一場Displate金屬插畫比賽。在比賽中獲得優(yōu)勝的選手們可以獲得一塊自己創(chuàng)作的Displate金屬插畫，更有幸運選手可以贏得折扣碼。點擊此處詳細了解DIsplate比賽。

https://displate.com/licensed/crusader-kings-iii?art=4e66236f4bb2990e951e13f95fe21917

This fantastic team of artists will also be hosting a Live Art Stream on May 18 from 14:30 - 16:00 CEST on our Twitch channel, which can be found HERE!

我們的美工團隊還將于5月18日14:30 - 16:00（中歐夏令時間），在我們的Twitch頻道上主持一場直播，點擊此處前往。

https://www.twitch.tv/paradoxinteractive

Petter: Lead 2D Artist 首席2D美工
Oscar: Illustrator 插畫師
Alessandro: Illustrator 插畫師
Ahmed: Illustrator 插畫師
Jon: Illustrator 插畫師
Nils: Lead Character Artist 首席角色美工

Types of Event Illustrations

事件插畫分類

Scene Illustrations

情景插畫

These are the illustrations that show up as backdrops in CK3 events. They have a different style and context than those in CK2. As opposed to being the main storytelling device, their purpose is now to support our amazing new 3D characters and the story they are telling through their appearance and animations. The images are there to add context to the characters' situation, but make no mistake: the characters are the star of the show.

情景插畫就是在CK3的事件中作為背景出現(xiàn)的插畫。與CK2的相比，它們有著不同的風格和不同的情境。它們并不作為主要的敘事手法，而是旨在支撐起3D角色，通過3D角色的外貌和動畫講述故事。這些圖像只是為角色增添背景情境的綠葉，不要弄錯了，角色才是真正的紅花。

As such, we make a number of artistic choices to support this goal:

因此，我們做了數(shù)個藝術(shù)上的選擇以達成此目的：

We avoid characters in the background and other elements one would expect to move.
我們避免讓角色以及其它應該呈動態(tài)的元素出現(xiàn)在背景里。

We do our best to design the composition in such a way that draws attention to the characters instead of the background.
我們盡量通過構(gòu)圖將注意力引向角色，不讓背景喧賓奪主。

Lastly, an additional tool provided by our 3D artists is the custom lighting setup that helps each character blend into the scene.

然后，我們的3D美工還有一樣絕招：通過自定義光照設置，讓每個角色都融入到場景之中。

Here are some of the Scene Illustrations added with Fate of Iberia:

以下是隨伊比利亞的命運一起新增的幾張情景插畫：

Story Illustrations

故事插畫

The "Story Event" is a new, yet familiar, addition to Fate of Iberia. Not every type of Event we would like to create fits neatly into the previous format of "Character standing in a scene". Some Events are more epic, involving a bigger cast of figures, or describe a more abstract idea not well captured by a single posed character. This type of illustration is a more epic version of the old CK2 event format we know and love.

“故事事件”是伊比利亞的命運Fate of Iberia中新增的老朋友。我們想打造的各種事件，其中有些是不能拿“角色站在場景里”的經(jīng)典模板生搬硬套的。有些事件更加有史詩感，涉及到更多的人物，或者描繪了更加抽象的概念，單單擺個角色放在那里是無法完全表現(xiàn)的。這種類型的插畫就和我們的老朋友——CK2中的事件形式很像，但是要更加有史詩感。

These images are painted in a more expressionistic style and can contain a variety of characters and action. Here are some added in Fate of Iberia - expect to see more in the future!

這些繪畫要更有表現(xiàn)主義風格，其中涵蓋了各種各樣的角色和行為。以下是在伊比利亞的命運中新增的一些——未來還會有更多！

Process - Scene Event Illustration

工序——情景事件插畫

Step 1 - Concept and Brief

第1步——概念與簡報

The first step starts with Game Design. The designers have some idea of which types of events they would like added to any expansion, and from this emerges a prioritized list of images. We typically want some images that can be used in many instances and some that are more unique and interesting.

第一步，首先是游戲設計。關(guān)于在某個擴展包中要新增什么類型的事件，設計師們會構(gòu)想一些主意，由此產(chǎn)生一個圖像的優(yōu)先級清單?；旧?，我們希望優(yōu)先創(chuàng)作的是可以反復用在多個場合的圖像以及特別獨特、特別有意思的圖像。

The designers will provide an initial set of references deemed suitable and historically accurate. The Artist will then supplement these with more artistic references, like inspiration for lighting, materials, and details. This is a collaborative process.

設計師要給出一套合適且符合史實的參考資料。然后美工要加入藝術(shù)上的參考，例如關(guān)于光照、材質(zhì)、細節(jié)等的靈感等等。這是一個相互協(xié)作的過程。

Step 2 - Modeling and Lighting

第2步——建模和光照

The base for these illustrations is always a 3D scene. This provides us with several benefits:

插畫的基底一定會是個3D場景。因為它有如下好處：

Accurate scale and perspective become trivial.
精確的尺寸和透視無關(guān)緊要。

Iteration of lighting and camera angles happens much faster.
迭代光照和相機角度要快得多。

We can reuse assets in multiple scenes, speeding up the process significantly.
我們可以在多個場景里反復使用美術(shù)資產(chǎn)，極大加快流程。

It also helps us maintain a consistent style.

它還能幫我我們保持風格上的一致。

Step 3 - Polishing

第3步——打磨

Our main priority is always framing the characters such that they are clearly legible.

我們的第一優(yōu)先永遠是將人物突出出來，一定要讓它清晰可見。

Here, for example, you can see how the same corridor could be longer.

例如這里可以看出，相同的一條走廊可長，

Or shorter.

可短。

The choice of using a shorter corridor here was twofold:

把走廊截短有兩條理由：

The more intimate space is suitable for a broader range of events, rather than just those set in a massive palace.
空間更加私密，可以用在更多種類的事件上，而不是只能用在發(fā)生在宮廷大廳里的事件上。

The corridor lines that go towards the vanishing point far away risk guiding the eye out of the scene. By making the line shorter, we allow the character to take more focus.
向著消失點延伸的走廊會將視線引向場景之外。把它截短之后，就能把焦點拉回到角色身上。

When we approach the final iteration, we keep doing tests to make sure we are respecting our goals. Here, for example, you can see elements that are too close to the character, which were then corrected in the final image. The vanishing point lines are placed in such a way as to not to excessively distract the player.

當我們接近迭代的尾聲時，我們會不斷進行測試，好更貼合我們的目標。比如說，你可以看見有些元素離角色距離太近了，于是在最后一幅圖中就被刪掉了。消失點也不至于太分散玩家的注意力。

It is helpful to view the image in grayscale to get a clearer sense of how the light and dark values work.

在灰度模式中看圖片，就能更好地看清楚明暗。

If we do our jobs correctly, we end up with an image that is interesting, pretty to look at, and doesn't overpower the character.

如果我們都能把本職工作做好，我們就能得到一幅有趣、好看、也不至于蓋過角色的圖畫。

Example 1: MENA Interior

實例1：MENA內(nèi)部

By Ahmed

來自Ahmed

The modeling process starts with a template scene in Blender which includes a correct camera lens and human models for scale.

在建模過程中，我們首先在Blender里搭建一個模板場景，需要把相機對焦和人體模型比例搞好。

To speed up the process, materials are sourced from various free and commercial sources online. Common materials like Wood, Stone, Tiles, Fabrics and much more can be found in very high quality. The image shows various PBR Materials (source:?http://www.textures.com)

為了加快工作進程，材質(zhì)來源于各個免費以及付費的網(wǎng)站。像木頭、石頭、地磚、纖維之類的常見材質(zhì)，都可以從網(wǎng)上找到非常高質(zhì)量的素材。圖中所示的是幾種PBR材質(zhì)（來源：www.textures.com）。

Blocking out the big details of the scene to get a feeling of the space.

遮擋住場景中的主要細節(jié)，來感受空間感。

Walls were added behind the camera to block the sunlight and have the room closed from all directions, to make it darker. The focus was storytelling at this stage, and any added details should support this goal.

我們在相機之后增加了墻來阻擋陽光，將房間完全封閉起來，讓它更暗。這個階段的重點是要敘事，所以不管增加什么細節(jié)，都需要服務于這個目的。

Some adjustments in Photoshop were made to get a feeling of the mood. *God rays" were added as well as some coloring tweaks:

在Photoshop里做了些調(diào)整，增加一些情感。還添加了“上帝之光”，調(diào)整了一些色彩。

Placing a character and UI to see how it will appear in-game. The flipped scene looked better!

把角色和UI擺上去，看看在游戲里會是什么效果。修改后的場景更好看一些！

After some feedback, it turns out some changes to the composition were needed. Placing the table further back in the scene looked better for the overall composition and prevented the character from looking off-scale.

收到一些反饋之后，發(fā)現(xiàn)在構(gòu)圖上還需要做一些調(diào)整。把桌子再放遠一點，構(gòu)圖會更好，也不會讓角色顯得特別大。

The simplest way to solve this was going back to Blender. The table is now placed further back in the scene.

要解決這個問題，最簡單的方法是回到Blender。在場景中把桌子擺遠點。

Back in Photoshop again, the color temperature was adjusted. Less greens and more reds.

回到圖像處理上，色溫有一定調(diào)整，多了點紅，少了點綠。

Fixing the lighting, making the lights pop more, adding color temperature to the lights.

修復了光照，使燈光更亮了，還加了色溫。

The Background behind the blonde bearded guy needed more separation. I went back to Photoshop and some fog was added.

金色胡須角色背后的背景原本需要更大的區(qū)分度。我到圖形處理里添加了一些灰霧。

The result.

現(xiàn)在看起來像這樣。

I hope you found this interesting and enjoyed the process as much as we enjoyed working on these images! As you can see the process can differ and each event image can present a distinct set of challenges, but with guidance and support from our art leads and colleagues we can reach those results.

我希望你們覺得這些很有趣并享受這一過程，就像我們當時美化這些圖片時所經(jīng)歷的一樣。如你所見，每一張事件圖片都有不同的挑戰(zhàn)，在我們美術(shù)部門的指導和支持下，我們才能有如此成果。

Example 2: Iberian Throne Room

實例2：伊比利亞王座廳

By Alessandro

來自Alessandro

I was excited to be able to do the background of the main menu, partly because it presented a new challenge for me, partly because it was an eye-catching and immediately visible image.

我懷著激動的心情來處理主菜單的背景，有一部分原因是因為這對我來說是一項新的挑戰(zhàn)，另一部分原因是這是一張能一眼吸引眼球的圖片。

First, we had some discussions about plausible historical references and moods for the scene, as well as the relation to previous works on the game.

首先，我們已經(jīng)研究了可靠的歷史依據(jù)，定下了場景基調(diào)、與游戲之前工作的關(guān)系。

Because of the setting, the warm and welcoming atmosphere seemed appropriate, so I immediately started thinking about a yellow and red color scheme.

由于場景設置，一個溫暖和熱情的氣氛看起來會恰到好處。因此，我立刻開始思考黃色和紅色的配色方案。

In the references, white is often used, and it was an interesting idea, but in order not to do something too like the standard Mediterranean Throne Room I opted for a real color. In my image there are still some white elements, but since I decided to use a very saturated sun, the result is still tending towards yellow.

在參考資料中，白色是經(jīng)常被使用的。這看起來是個好主意，不過為了讓它看起來不那么像標準地中海御座廳，我選了真彩色。在我畫的圖里仍然有一些白色元素，但是因為我決定使用非常飽和的日光，導致白色會趨向于黃色。

After the initial sketch stage, some technical problems became apparent. The throne itself, one of the focal points in the background, was completely covered by the characters. The second problem concerned the mood.

在初始草圖設計好之后，一些技術(shù)難題浮出水面。王座本身是背景里的重點之一，但它完全被其他角色遮擋住了。還有個問題就是基調(diào)。

I wanted to create some interesting shadow patterns from the sun, but this would have created problems of credibility and shading with respect to the characters, so I had to opt for a different solution.

我試圖營造很有意思的日光陰影圖案，但是這可能會影響角色陰影的真實性，于是我只能選擇另一種解決方式。

Often when I find myself in complex situations, I prefer to think about it in the final stages, it helps me not to get stuck on an illustration for too long, thinking about too many alternative solutions that in practice I do not yet know how to deal with, making myself waste time.

通常，當我發(fā)現(xiàn)情況很復雜時，我傾向于思考最終成品應該怎樣。這有助于我不被一些插圖困住太久，一味地糾結(jié)一些我事實上不知道如何處理的、卻可替代的方案，那只是浪費時間。

I started to define the details of the image, making it more saturated and darker, adding purple as a complementary color for the light seen from the windows, to create richer color variations.

我開始確定圖片中的細節(jié)，讓它更飽滿、更暗。往窗戶上增加一些紫色作為光線的互補色，來創(chuàng)造更豐富的色調(diào)變化。

I tried different approaches especially for the furniture elements and the floor. I liked the idea of creating a texture that combined large, open areas with more detailed areas - so I tested out a variety of materials.

我嘗試了不同的方案，尤其是家具元素和地面。我很喜歡的一個想法是在大型開放區(qū)域和有更多細節(jié)的區(qū)域之間添加紋理，為此我試遍了各種材料。

Speaking during the review meetings we decided to work the floor further, and I decided to add an additional color to create a darker but still rich texture, which I interrupted by larger elements, creating that type design that was in my plans from the beginning.

在工作總結(jié)會上，我們決定把地面景深在加大一點，同時我也決定再添加另一種深色色彩來豐富紋理，為此還打亂了我原本設計其他大件元素的計劃。

At this point I started to make the whole image more harmonious. Since it will show up in the Main Menu, it needs all the necessary care and detail. You can see that a whole series of patterns have been added to the walls, like plants and more.

這時我開始考慮讓整幅圖看起來更加和諧。因為這是主菜單的背景圖，所以它需要百分之一千的細致關(guān)注。你可以看到一整個系列的圖案都添加到了墻上，包括但不限于植物之類的。

When we got to the end, we felt it lacked something, and there was still an issue with the strange shadow that had been looking for at the beginning. The solution was to cut the shadow and make the floor pattern less invasive (but still visible), and in general made the whole image deeper, and with distinct levels of reading.

當一切都結(jié)束了，我們總覺得還缺點什么，最開始陰影看起來很奇觀的問題還沒解決。解決方法就是把陰影去了，使地面的圖案看起來不那么明顯（但仍然可見），使整張圖總體看起來更深，能明顯看出不同的深度。

I hope you enjoy the result as much as I enjoyed making it.

我希望你們能享受這張成果圖，就像我享受制作它的過程那樣。

By Jon

來自Jon

This was the first time I did an event scene illustration for CK3, which was exciting and maybe a little bit intimidating. I really like the art style used in these illustrations and I was looking forward to trying it out myself.

這是我第一次為十字軍之王3繪制事件場景的插圖，這讓我激動不已，甚至還有一點小緊張。我真的很喜歡之前的美術(shù)風格，我也很希望能盡我全力。

When I started working on this illustration, I had a few things in mind. Since it was going to be a dungeon, it would be sparsely decorated and only have the most basic, roughly cobbled together, furnishing. There was not much room for props, architecture or artworks that could connect this illustration with the area. In order to make this illustration stand out from the other dungeon scenes, I focused more on materials and mood.

當我開始制作這一插圖時，我的腦中想到了幾個東西。由于這將會是一個地牢，那它應該缺乏裝飾，只有最基礎的、簡單粗暴地堆砌在一起的一些陳設，周遭并不會有什么小道具、家具、藝術(shù)品的空間。為了讓這張插圖能從一眾地牢插圖中脫穎而出，我專注于思考其材料和基調(diào)。

Layout and Lighting

布局和光照

Before I started to work on materials and other details, I needed to come up with a good layout for the image. I started by blocking out some basic objects - walls, arches, bars, doors - and tried various layouts and lighting for the scene.

在開始制定材料和其他細節(jié)之前，我需要先給插畫制定一個不錯的布局。我先大致畫出一些基礎的物件——墻壁、圓拱、長條、門，并且嘗試了不同的布局和光照。

Each layout was tested with characters and UI elements on top, to get an idea of how it would look in-game. It was important that the illustration didn't compete with the other elements by being too busy or by having too much contrast.

每種布局都進行了附帶角色和UI元素的測試，從而得知在游戲中它們會看起來是什么樣的。很重要的是插畫不能和其他元素相沖突，比如太雜亂，或是有明顯的色彩反差。

After going back and forth, I eventually settled on this design.

在反復斟酌后，我最終選用了這一設計。

Materials and Mood

材料與基調(diào)

When I had settled on a layout, I started to play around with the materials in the scene. I imagined this area being one of the older parts of the building, perhaps it was used for something more extravagant at one point, but now the walls are eroded, the stones have shifted, and the surfaces are worn. The only source of natural light would be a small window placed high on the wall.

當我完成了布局，我就開始著手處理場景中的材料。我想象這片區(qū)域是古建筑的一部分，可能是原本很奢華，但現(xiàn)在墻體已經(jīng)被侵蝕，石料也散了，表面都有磨損。唯一的自然光源僅僅是墻上高高的一葉小窗。

I gathered references of buildings in the area, looking for interesting textures and variations in the materials. I tried to achieve a combination of chiseled stone blocks in some areas, with rough, eroded walls and uneven patches of mortar in others.

我收集從那個時代的建筑參照，以尋找有趣的材料紋理。我試圖構(gòu)造一個鑿刻的石塊、粗糙的被侵蝕的墻體、不規(guī)則砂漿斑塊相結(jié)合的場景。

Props and details

道具與細節(jié)

Another area that I experimented with quite a bit was the metal bars separating the rooms. The first versions of these were based on Moorish patterns, but I wasn't happy with the way they came out. To improve them, I collaborated with our content designers, who helped me find references of other types of Moorish artworks to base the new designs on. In order to make these appear less fancy - this was a dungeon after all - I gave them an eroded material and banged them up a bit.

另一個區(qū)域我實驗性地用金屬條分割出了一個空間。最初版本是以摩爾文化的圖案為藍本的，但是我對其呈現(xiàn)出的效果并不滿意。為了更好的效果，我和我們的內(nèi)容設計相互合作，他們幫我尋找了許多摩爾人的藝術(shù)作品的參照，來作為新設計的基礎。為了讓這些看起來不那么華麗——畢竟這說到到底還是個地牢，我把這些材料都換成了戰(zhàn)損版。

In addition to the material and design of the bars, I also put in some extra attention to the lighting to make the silhouettes more clear. The left panel would receive a fair deal of natural light from the window, making it stand out from the dark corridor behind it. The left panel would receive less light, so in order to make it more clear I placed an artificial light source behind it, perhaps a lantern burning next to a sleeping guard.

除了護欄的材料和設計，我還額外關(guān)注了光線，讓光影更加清晰。左邊部分能從窗口獲得相當多的自然光，使其從背景黑暗走廊中顯現(xiàn)出來。左邊部分接受光線較少，為了讓它更清晰，我在后面放了個人工光源，或許是打盹的衛(wèi)兵身邊點著的燈籠。（譯注：原文如此，兩個都是“左邊”。）

Lastly, I worked on the props for the scene. I wanted to keep them simple - the unfortunate residents would only have a couple of rough benches to sleep on, and would only have access to the most basic necessities.

最后，我為這個場景制作了道具。我想讓它簡單些——倒霉房客只有幾張粗糙長凳可供睡覺，而且只能得到最基本的生活用品。

Rendering

渲染

Once I had everything I needed in my 3D scene it was time to render it. At this point I want all the major aspects of the illustration solved. Since I know that I am going to paint over it, it is not the end of the world if a texture looks wonky somewhere, but I want to avoid doing any major changes once I start to work in photoshop.

等到我在3D場景中做出來想做的一切，就該渲染它了。在這方面，我想解決關(guān)于插圖的所有主要問題。因為我知道要在它上面繪畫，某個地方的紋理看起來不穩(wěn)定也沒什么大不了的，但我不想在開始使用Photoshop后做什么重大改變。

I did some test render where I tweaked the lighting and some details until I got a result that I was happy with. After that it was time to bring the illustration into photoshop. This is what the raw render looks like compared to the final image.

我做了一些測試性渲染，調(diào)整了燈光和一些細節(jié)，直到得出我滿意的結(jié)果。之后就該將插圖放進Photoshop。這是原版渲染圖和最終圖像的對比情況。

Painting

繪畫

When I started in Photoshop I focused on the major things first, such as darkening some areas, tweaking saturation and adding haze and other effects. Then I started to paint over the 3D image - simplifying some areas while adding additional detail to others. This is where I push the image and try to make it as nice as I can. While doing this I am also paying attention to the mockup, testing it regularly to make sure that the image works well in the game.

當我開始使用Photoshop時，首先要看主要問題，比如調(diào)暗一些區(qū)域，調(diào)整飽和度，增加霧度還有其他效果。然后我開始在3D圖像上作畫——簡化部分區(qū)域，同時在其他區(qū)域添加額外細節(jié)。我對圖像做了這些改動，讓它盡可能好看。在做這些工作的同時，我也在關(guān)注模擬圖，定期測試確保圖像在游戲中良好運行。

Finalizing

定稿

Throughout this process I worked closely with my colleagues. The support and feedback that I get from my art team is incredibly valuable and appreciated, and I know for a fact that this image would come out way worse if I didn't have their input. I also get a lot of help from our designers, providing tons of cool ideas and references for what to put in the illustrations.

在這個過程中，我和同事們親密合作。我從美術(shù)團隊得到的支持和反饋非常有價值，我知道如果沒有他們的意見，這個圖像做出來效果會很差。我也從設計師那里得到了很多幫助，他們?yōu)槲以诓鍒D中添加的元素提供了大量很酷的想法和參考資料。

At this point I am mostly doing minor changes, looking for ways to improve the image and testing it in the game. Creating this illustration was incredibly fun and rewarding, and it′s since become one of my favorite things to do for our games.

這方面我主要是做一些小改動，尋找改進圖像的辦法，并在游戲中測試。創(chuàng)作這幅插圖非常好玩有意義，它后來成為我最喜歡為我們游戲做的工作之一。

Process: Story Event Illustration

流程：故事事件插圖

By Oscar

來自Oscar

Sketch and brief

草圖與簡介

Our designers and Game Director had this idea for a scene showcasing the possibilities that the Struggle represents - a sense of standing at a crossroads overlooking the landscape and not knowing what the future holds.

我們的設計師和游戲總監(jiān)有這么個想法，希望有個場景來展示“伊比利亞沖突”所代表的可能性——那種站在十字路口遠眺風光的感覺。

With this in mind, I started making some simple shapes in black and white to get a composition going. I wanted a strong triangular shape with some characters on it that would lead the eye toward the right side of the image and the horizon.

考慮到這點，我做了一些簡單的黑白形狀組成構(gòu)圖。我希望構(gòu)成有力量感的三角形，上面有一些符號，將人們的視線引向畫面右側(cè)和地平線。

I kept refining and adding details and tried to add some more definition to the values. I looked closely at various reference images to get inspiration. I made the foreground elements darker so that you get a good separation between elements and a clear focal point.

我不斷完善增加細節(jié)，嘗試在數(shù)值之上附加一些意義。我仔細觀察了各種參考圖片以汲取靈感。我將前景元素調(diào)暗，這樣就能很好地區(qū)分各元素，并有著清晰的重點。

Color

色彩

Time for color! I overlay some textures with color and use blend modes to establish a mood. I want it to feel a stormy with patches of light shining through the clouds to illuminate the landscapes and characters. This will allow me to model the lights to highlight the important elements to create focus. I also thought it would be a nice detail to give the characters colored flags, it would add a sense of wind and add some much-needed color variation to the scene.
該上色了！我用色彩疊加出紋理，用混合方式來建立情緒。我希望它能給人一種暴風雨的感覺，通過云層中的光點來照亮風景人物。這能讓我用燈光來突出重要元素，制造出重點。我還認為給人物加上彩旗是個很好的細節(jié)，可以增加風的感覺，為場景加一些所需色彩變化。

I remove the characters for now and start working on the environment, I add rocks and grass and block out the tree from the first sketch. I add some photos of foliage that I paint on top of to add some color and texture variation to the ground.

現(xiàn)在去掉人物，開始畫環(huán)境，我增加了巖石和草，并將第一張草圖中的樹擋住。在上面加一些樹葉照片，為地面加一些色彩紋理變化。

Refinement

改進

I add some more small bushes and work out textures for the ground. I also work a bit on the background so I keep all elements of the environment on the same level of finish. I add a second tree and refine them for some depth in the foreground, adding just a bit of light hitting the top of the trees is a nice way to further push the feeling of dappled light in the scene.

我加了一些小樹叢，為地面繪制紋理。還在背景上做了一些工作，讓環(huán)境中所有元素保持同一水平線。我還加了一棵樹，并在前景中細化景深，在樹頂上加一點光，這是進一步增強場景中斑駁光線感覺的好辦法。

Finishing and characters

完善和人物

I add back characters and clouds and some brighter clouds on the horizon, to reflect stormy weather and I thought the scene needed some more variation in the sky.

我將人物和云加回去，在地平線上加一些更亮的云，從而反映暴風雨天氣，我認為場景天空中需要一些變化。

Now I've added back all the characters that were planned, I added back the colors of their banners and now it's mostly a question of where all characters should be positioned to create a nice flow in the image. I'm pretty happy with how the clouds turned out and I think they convey a feeling of wind quite well.

現(xiàn)在我將計劃中所有人物都加了回來，并將旗幟色彩加了回來，現(xiàn)在主要問題就是所有人物的位置，以便于在畫面中制造良好的流動感。我對云的效果非常滿意，我認為它們很好地表現(xiàn)了風的感覺。

The finishing touches, mostly has to do with small fixes and changes to characters and clouds, I move some elements around and push values ever so slightly to make the image finished. I add some extra small details, like the small tree sticking out of the hill and do some light color adjustments and vignetting to make the composition just a little bit stronger.

最后的修飾，主要是對人物和云的微調(diào)，我移動了一些元素，略微改了一些數(shù)值，完成畫面。我加了一些額外小細節(jié)，比如從山上伸出的小樹，并做了一些細微色彩調(diào)整暈染，使構(gòu)圖更強烈。

I'm happy with how the picture turned out. Throughout the entire process the art team and our content designers have given me many references and plenty of excellent feedback to push the image further.

我對圖片效果很滿意，在整個過程中，美術(shù)團隊和內(nèi)容設計給了我許多參考資料和大量出色反饋，進一步優(yōu)化了圖像。

That's it for this week's Dev Diary - thanks for reading!

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本作品英文原文著作權(quán)屬Paradox interactive AB所有，中文譯文著作權(quán)屬牧有漢化所有。