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[原创资料翻译] [连载] 亚当的模型指导书 下册 第三期 色调调节(CM技法)

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发表于 2018-9-7 14:58:44 | 显示全部楼层 |阅读模式
本帖最后由 facewest 于 2018-9-7 16:05 编辑

首先仍然要感谢各位的支持和鼓励。翻译是个很枯燥和痛苦的事情,所以不免有很多错误,希望各位多多包涵,顺便也帮我指出来。

这一期必须要做个高能预警,这绝对是干货满满的一期,有可能是你看到过最全的有关色调调节的一篇教程。所以,我相信对于所有刚开始做模型不久,又喜欢战车模型的小伙伴来说,是绝对不容错过的好内容。

继续在开始正文前做一些必要的说明:
1. 这一期其实就是探讨大家耳熟能详的CM技法,但我却尽量避免用“CM技法”这个词语(本文中一直译为:色调调节)。“技法”一词总是让我习惯的觉得是喷笔上的功夫。但就如同之前有位前辈说的一样,CM绝不仅仅是喷渐变色那么简单,它是一整套理论和方法。用亚当的原话说。CM更是一种“style”(风格),绝非是一种“technique”(技术)。就如同说起咏春,绝非是围着打木桩这么简单。在这一期里大家应该能够有所了解。
2. 也正因为上面这一点,翻译这篇我是非常诚惶诚恐的。我本身也是个新手,也非美术专业出身,受制于我自己对模型制作的理解和掌握,这篇可能仅仅呈现出了这个亚当看家本领的一点点皮毛。但就算如此,相信对各位小白,或者准小白们也有醍醐灌顶的效果。我尽力了!
3. 正文中有关色彩用语的翻译用词,可能并非十分准确,大家多多参考图片。
4. 同样,这章内容很多,我会分成四个楼层呈现!


附上前两期的传送门:
第一期:色彩区分   http://www.moxdao.com/thread-56135-1-1.html
第二期:底色和迷彩涂装 http://www.moxdao.com/thread-56231-1-1.html


最后:所有图片和图书的版权归原作者和出版社所有,任何人不得用于商业用途。翻译稿暂时只在模型岛放出,欢迎转载,但请提前和本人取得联系。谢谢大家!


COLOUR MODULATION色调调节(CM)

色调调节(CM)是近年来在模型界流行起来的一种涂装风格。
Colour Modulation is a painting style that hasemerged in the modelling world over the recent years.


色调调节就是涂装的过程中分步骤用多种浅色调和深色调来突出对象的体积感。让注意力集中在模型的各个细节上。这种表现形式在16世纪的古典绘画中经常出现。
Colour modulation uses different light and darktones throughout the various steps of the finish to accentuate volumes whilealso drawing attention to different details on a replica much like the classicalartists did on their paintings during the 16th century.  



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几年前,我在西班牙生活的时候,利用下班后晚上的空闲时间琢磨出了这套技法。其实一直以来,模型爱好者始终都在尝试在底色上变换色调和增加阴影。英国模型大师Phil Stutcinskas就是其中一位。我们观察他在2007年Eruomilitaire大赛上获得最佳表现奖时那辆著名的四号坦克模型就用了在底色向上(由暗至明)调节色调的方式。当我在西班牙北部生活工作的三年里,在吸纳了模型界同仁和朋友的一些建议的同时,开始试验利用色调调节方法制作我的模型。我第一次尝试色调调节就是在这辆 Krupp Steyr WaffenTrager火炮上,在成品上轻微的呈现了一点调节效果。这款KV-1是我第二次尝试更进一步的调节颜色,这次我尝试在车辆前部驾驶员舱一侧调节色调。拍照的时候为了呈现CM效果,我特地把光源放置在了模型的正前方。这个例子非常好的展现了色调调节给完成后的模型带来了丰富的层次感。
I created this style in the evenings after workwhile in living in Spain. Modellers have been shifting tones and adding shadowsin their base coats for years. English modeller Phil Stutcinskas was one of themodellers whom I observed shifting the tones upward with the base coats as seenon his famous Panzer IV that he took best of show with at Euromilitaire in2007. With some advice from co-workers and other acquaintances in the modellingindustry I experimented with what would become the colour modulation style forabout three years while living and working in Northern Spain. My first attemptat colour modulation was this Krupp Steyr Waffen Trager. I found the finishedmodulation a little subtle. The KV-1 M42 was my second attempt to furthermodulate the colors this time shifting the tones towards the front driver’sside of the vehicle. Positioning the light toward the front of this model alsoplayed an important role in obtaining this photograph. This example easilydemonstrates how colour modulation gives the modeller another level ofcreativity with the model’s finish.



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这个豹F是我第五次尝试色调调节,这辆图纸车恐怕是我迄今为止最成功的模型之一。本章稍后介绍的四号坦克是我试图用最夸张的表现手法来看看这种效果究竟能达到什么程度。你们可以看到从深棕色开始,直到几乎全白的夸张过度效果。这个例子中的色调极端差异要求我在后续的旧化步骤中(例如渍洗,掉漆和上土)继续去改变它的色调。在我所有的作品中,这个四号可能是我个人的最爱。
Although the colour modulation again ended up abit subtle for my taste, this Panther F was about my fifth attempt atexperimenting with what would become this style. This paper panzer has been oneof my most successful models to date. The Panzer IV later in this chapter wasan effort to see how far I could exaggerate all of the tones starting with adark brown colour and working up to almost a white. The extreme difference intones on this example required me to also alter the colors during the rest of thesteps needed to finish this model such as the washes, chipping effects andearth tones. Out of all of the models that I have finished the Panzer IV isprobably my personal favorite.



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在这辆LVT(A)上,我更多的使用了古典艺术中的阴影表现模式来创造色调调节。我称之为“新CM技法”。 刚才所说的四号坦克和这辆LVT将在本章后面详细介绍。
On the LVT (A) I applied the colour modulationusing more of the traditional artist rules of shading. I refer to this as thenew Color Modulation Style. The Panzer IV and the LVT will also be coveredlater on in this chapter.



在本书的其余部分中,您其实可以看到色调调节在整个模型制作期间涉及到很多技术,包括很多旧化步骤。所谓的色调调节,完全取决于模型制作者究竟想让底色发生怎样的色调变化,以及程度。这就是为什么色调调节更多的应该被称之为一种风格,而非仅仅是一种技巧。在本章中,我们会看到各种不同应用色调调节的例子。我会给大家介绍传统的色调调节方法,以及刚才说的“新CM技法”。我们就从这辆经典的虎式坦克开始吧。
You will see throughout the rest of this bookthat the colour modulation style involves a number of techniques during themodel’s finish sometimes including the weathering steps depending on how muchthe modeller has decided to alter the tones when applying the base coat. Thisis why colour modulation is referred to as a style. In this chapter we will be lookingat different examples and approaches to colour modulation. I will cover thetraditional style of colour modulation along with a newer approach. We willbegin with a typical example of colour modulation applied to a Tiger I.



BASIC COLOUR MODULATION 色调调节基础篇

首先,我们将看到非常典型和标准的色调调节案例中所使用的技术。
For this first example we are coming to look at techniquesused when applying a rather standard example of colour modulation.



现在我们来简单的改变一下底色的色调,加重这个虎式模型上不同部分和细节之间的对比。让我们开始吧!
Here we will be simply shifting the tones of thebase coat to break up the model accentuating the different parts and details ofthis Tiger I. Let’s get started.



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Photo1-2 图片1-2
在开始运用色调调节的时候,我总是首先在阴影区域用黑色水漆预制阴影。我称之为“shadowcoat”(译者注:这个名字我觉得好潇洒,所以干脆直接用原文了)。色调调节需要你从暗到明分层逐步建立过度,反之亦然,从明到暗逐步过度。因此,预制阴影区域所用黑色水漆的光滑表面有助于减少在多层上色时产生的痕迹。接下来,我使用田宫XF-60德军深黄打底,涂在车体和炮塔的两侧和顶部。我的初衷是给这个虎式涂装冬季迷彩,所以在XF-60中我加了几小滴蓝色XF-8,让颜色看起来更冷一些。别忘了,把这种调制好的颜色放入备用瓶里,后面还要用到的时候就不用再调了,保证色彩一致。
When using the colour modulation style I alwaysstart by adding a glossy black coat of acrylics over all of the areas that willcontain shadows. I call this a shadow coat. Colour modulation requires you tobuild up layers of different tones when shifting from the darks to lights orvise-versa. The smooth glossy surface of this coat of black will help to reduceany texture that might develop as you continue to build up the layers of paint.Next I applied a dark yellow base coat using Tamiya acrylics onto the sides andupper parts of the hull and turret. This Tiger was going to have a wintercamouflage so a few very small drops blue were added in order to help give acolder feeling to the finish. I placed this dark yellow mix into a spare jar.



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Photo 3-4 图片3-4
在刚才调制的深黄色中间加一点光泽白X-2,然后遮盖侧裙板开始在车体和炮塔上喷涂较亮的区域。接下来我把上一步的遮盖带取下,遮盖车体两侧,在裙板上施加较明亮的色调,创建水平渐变。每一块裙板上都运用水平渐变方法,有助于每块裙板能够彼此区分。大家要记住,色调调节是为了创建不同部分的对比,并且增加体积感。
After adding a bit of gloss white to thedark yellow mix I masked off the fenders and started building up the lighterareas over the hull and turret. Next I removed the first lengths of tape,masked off the sides of the hull and started applying lighter tones onto thefenders creating horizontal gradients. Applying the gradients in this mannerwill help to distinguish each fender from the other. Remember that colourmodulation is shifting tones to create contrast between parts and also stressvolumes.


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Photo 5-7 图片5-7
从之前的调制深黄色中倒一点出来,加入更多的光泽白,把颜色调的更亮一点。继续在车体顶部以外侧更亮,内侧更暗的模式在炮塔周围部分创造渐变效果。同时,可以采用遮盖的方式为一些小的凸起的细节喷涂亮色。在凸起的部分用亮色调表现能够让你的模型看起来更有立体感。这辆BT-7A就是一个用亮色调强调凸起部分的好例子。
After pouring a little of the dark yellowmix into another spare jar I added some more gloss white. I continued creatinggradients on the upper hull adding the lights toward the outer edges working inwardtoward the darks creating a fake shadow around the turret. I masked andairbrushed some of the raised details using this lighter tone. Paintingextruded details with lighter tones is a great way to make a model look morethree dimensional. This BT-7A is a great example of using lighter tones toemphasize the raised details of a model.


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Photo 8-9 图片8-9
当我在不同步骤中继续用白色调亮色调时 我会额外增加一些黄色XF-3,目的是丰富这种亮灰色的色彩。(译者注:我的理解是当XF-60混合蓝色的底色不停的加入白色调亮之后,颜色会慢慢的变成类似灰色的感觉,所以亚当在这里加入了黄色来让色彩丰富一点。)我继用区域遮盖的方法,为一些特别的细节提亮。在图9中,我正在为车体正前方的上部提亮,如灯罩的顶部,机枪罩的顶部,以及驾驶员窗口装甲围栏的顶部。大家注意这张图片中前挡泥板上用的较亮的色调已经和周围产生了微妙的色差对比。
As I continued to lighten up the tones withwhite throughout the different steps, I added some yellow in order to give alittle colour to some of these light grey highlights. Using these lighter tonesI continued to mask off areas building up highlights over specific details. Inphoto nine I am airbrushing the light tone straight down over the top of thefront hull plate, MG housing and the armoured enclosure over the drivers visionport. Note the subtle contrast created when applying the lighter tones over thefenders.  

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Photo 10-11 图片10-11
接下来我遮盖炮塔顶部,并喷出高光区域。(译者注:大家留意图中喷涂位置
I masked the upper parts of the turret andhighlighted them.

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Photo12-13 图片12-13
在喷涂完高光位置后,我经常会回过头用比底色更深的色调来处理阴影区域。这个例子里,我用了棕色。首先,我进一步加强炮塔周围的阴影色调。我还用棕色在车体和裙板之间的位置增加对比度。您可以借助一张白纸挡住部分区域的方法巧妙的创建非常精细柔和的阴影。先将颜色喷到白纸上,靠近车体的位置,利用“过喷”效果在车体上留下非常微妙的阴影效果。(译者注:意思是别直接喷到车体上,往挡纸靠近车体的这边喷,这样气流边缘的漆就可以淡淡的洒在车体上,达到柔和的效果。
After the highlights I often go back oversome of the shadowed areas with a darker shade of the basecoat. In this case Iused a brown colour. I started by further stressing the shadows around theturret. I also used the brown to add more contrast between the hull andfenders. You can subtly create fine shadows with the aid of paper masks. Justairbrush the tone onto the paper at an angle that lets the overspray create asubtle shadow on the model.


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Photo 14-15 图片14-15
图14 中虎式坦克已经完成了色调调节的第一步。很容易看出各种色调时是怎样把模型的不同部分区分开来的。请注意,在炮塔上三种不同的色调巧妙的把炮塔构区分了三个部分。你还可以看到上车体沿着炮塔周围的棕色调,从而在炮塔和车体之间形成对比,用以区分。在一些部件上用了更多的黄色,比如说中间的那块裙板,前挡泥板,还有炮管中间部分。
车轮也体现出色调差异。外部的车轮颜色较亮,内部的车轮转暗。后面旧化时,这些车轮和车体下部是唯一会用泥土色改变色调的区域。
Photo 14 shows the Tiger I with the firststep of colour modulation finished.  Itis easy to see how the various tones break up the different parts of the model.Note the three different tones subtly distinguishing the three plates making upthe top of the turret. You can also see the brown tone on the upper hull aroundthe turret creating contrast between these two parts. More yellow was added tosome of the parts such as the hatches, middle fender on the side, mantlet andmid-section of the gun.
The wheels also exhibited tonal differencesstarting with the lighter outer ones and shifting to the darker ones on theinside. These wheels along with the undersides of the hull were the only areaswhere the earth tones needed to be altered when weathering this model.

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Photo 16-18 图片16-18
用笔涂lifecolor水漆的方式为一些很难覆盖的小细节进行上色。记得水漆要稀释,确保笔涂的时候漆面光滑,减少笔痕。(译者注:这里各位手涂党更有发言权,我觉得是否需要稀释是要看漆本身情况来的,亚当用的lifecolor漆可能和各位用的漆并不一样。目的是减少笔痕,至于稀释与否大家自己看情况来。)在笔涂之前,在餐巾纸上擦掉多余的颜料,然后在细节部件上薄涂2-3层,具体取决于漆的稀释程度。
相比较大的部件,小部件往往对光的反射较少。因此,您可以将这些细节部件涂的更亮一点,比如车载工具的固定合页(或称之为固定夹),这样在旧化之后,这些细节能够更加的明显。
Acrylic Lifecolor paints applied by brushwere used to paint some of the smaller details that were more difficult tomask. Remember to thin the acrylic paints with water as discussed earlier tohelp make sure they brush on smoothly. Wipe the excess paint away on a piece ofpaper prior to painting the parts. You will need to apply two to three coatsover the details depending on how much you thin the paints.
Smaller parts reflect less light thanlarger ones do. Therefore you can apply lighter tones to these finer details,such as the tool clamps, making them more noticeable after the weathering iscompleted.


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Photo 19-22 图片19-22
接下来我用田宫透明清漆混合蓝色X-23调出一种透明天蓝色,用作滤镜效果,整车喷涂,让这辆冬季虎式坦克看上去更加冷峻一点。这一步也有助于丰富一下车上那些非常亮甚至接近于白色的细节部件的色彩。需要注意的是,如果你的这个蓝色滤镜液调的太浓(译者注:蓝色加的过多),则原本深黄底色的车会显得变绿。后面我们会专门讨论有关滤镜的知识。
这些色调的对比差异在旧化后就不会那么显眼了。但在这个章节的例子里,大家可以看到他非常巧妙的在各个部分之间创建了对比,增强了体积感,突出了细节。
Next a light blue filter mixed from Tamiyaclear was applied over the entire model to help give a cold feeling to whatwould be a winter Tiger I. This step would also help to add a bit of colour tothe lighter, almost white details on the model. If your blue filter is toostrong you will obtain more of a green tone as a result of the dark yellowbase. More about filters will be discussed later.
These tonal variations will be less evidentafter the weathering but will help to subtly, in this example, create contrastbetween details while also emphasizing its volumes and details.

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这个VK3001有着更加夸张的色调调节。在为这个模型做掉漆和泥土效果时需要格外的注意。
在下一个示例中,我们将在IV号 H型坦克上运用另一种夸张的色调调节。这个模型的形状比虎式更加的复杂,我会给大家呈现用这种更加激进的风格能够达到什么效果。
The VK3001 contains more of an exaggeratedexample of colour modulation. More attention was needed when applying paintchips and adding the earth tones over this model. Another exaggerated exampleof colour modulation will be used on the Panzer IV H in the next example. Theshape of this model is also more complex than the Tiger I making it a fantasticsubject for seeing just what can be achieved using this radical style.




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 楼主| 发表于 2018-9-7 14:59:10 | 显示全部楼层

ADVANCED COLOUR MODULATION 色调调节进阶篇

本帖最后由 facewest 于 2018-9-7 15:13 编辑

ADVANCED COLOUR MODULATION色调调节进阶篇


在第二个颜色调制示例中,我们会在这辆IV号H型坦克上呈现更为夸张的色调变化。
In this second example of Colour Modulationwe are going to further exaggerate the shifting of tones on this Panzer IV H.

这个例子中的涂装技术和类型和前面的例子是相同的。像IV号坦克这样的对象包括很多细节,比如说垂直装甲,大面积的裙甲等等。这些都可以让您充分的运用色调调节。现在我来向您展示。
The types of paints and techniques in thisexample are the same as explained earlier. Subjects like this Panzer IVcontaining details such as stand-off armour, or schürzen, allow you to get themost out of using the colour modulation style as I will now show you.


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Photo 1 图片1
我开始用田宫光泽黑X-1做预制阴影。注意,每个角落都要喷到黑色,包括裙甲后面所有的区域,炮塔下方,和车体下方。
I started with a shadow coat using Tamiyagloss black. I applied the black into the corners, on to all of the areas thatwould be behind the schürzen, beneath the turret and under the sponsons andhull.


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Photo 2-3 图片 2-3
接下来,我们在车体和炮塔两侧喷棕色调,还有裙甲的外侧和内侧上部区域。请注意我是如何在车体两侧的黑色区域上创建向上渐变的(内深外浅)。在炮塔两侧裙甲后面,还能看到一些光泽黑色。
Next I applied a brown tone over the sidesof the hull and turret. I also airbrushed this tone onto the outer sides andupper inner areas of the schürzen.  Notehow I am starting to create upward gradients over the black areas on the sidesof the hull. You can see that some of the gloss black is still evident on thesides of the turret behind the schürzen.


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Photo 4-5 图片4-5
我将一些深棕色的混合漆(底色)倒入一个干净的瓶子里,然后加入一点深黄色,调出一个较亮的色调。用这个比之前的棕色要浅的颜色继续创建渐变。
I poured some of the dark brown mix intoanother clean jar and added a bit of dark yellow. Using this lighter tone Icontinued creating gradients working upwards with the light tones over thebrown colour applied before.


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Photo 6-7 图片6-7
然后再加光泽白,继续调亮,继续构建亮点。(译者注:这里可以看到亚当在不停的调亮颜色创造渐变,可以看到在裙甲这个部件上,渐变的颜色是由下往上的,也就是下部暗,上部亮。如果到这里您还是不知道在什么位置用亮色,什么地方用暗色, 可以回到上一节参考那个虎式,国内很多模型高手也都给出了很好的方法,就是直接在模型前面或者上面放一盏灯,哪里亮哪里暗就一清二楚了,也是一种非常简单实用的方法。
After adding a bit of gloss white to themix I continued building up the highlights.


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Photo 8-9 图片8-9
在图片8和9中,大家看到,我们已经喷涂完所有的高光和阴影的渐变效果。请注意在裙甲,下车体,挡泥板之间的阴影区域,指挥塔周围的阴影区域。指挥塔部分,我是用高亮色调垂直着喷到指挥塔顶部,在创造中心的高光效果,以形成和周围色调的高对比度。另外,注意上车体舱门的不同色调。裙甲上的渐变色是倾斜角度的,用来创造各个裙甲之间的高对比度。渐变的效果一样是由下而上(下部暗,上部亮)。
In photos eight and nine all of thegradients creating the shades and highlights have been airbrushed.  Note the darker shadowed areas between theschürzen, lower hull beneath the fenders and around the commander’s cupola. Thelighter tones were airbrushed straight down onto the commander’s cupolacreating highlights on the upper edges. Note the different tones of the rearhatches on the upper hull. The gradients on the hull schürzen were applieddiagonally to add further contrast amongst each other while still moving upwardtoward the highlights.  


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Photo10-11 图片10-11
像之前的虎式一样,我们用笔刷轻轻的在一些小的凸起细节上涂更亮一点的颜色。需要再次强调的是,较小的细节对光的反射不是特别强烈,所以可以用更亮一点的色调。不用担心,在完成品上它们并不会那么显眼。另外需要注意看一下,炮塔下面和尾部的裙甲上我用的黄棕色调来体现阴影区域。
Like on the Tiger I brushed on lighter tones to some of the smallerraised details using a brush. Remember that you can add lighter tones tosmaller details. Smaller details reflect less light and the effect will not beso evident on the completed model. Note how more of a yellow-brown tone wasused on the details in the shaded areas beneath the turret and behind theschürzen.


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Photo 12-13 图片12-13
为了进一步创造对比度,我们还可以用油画颜料进行稀释然后笔涂。这种情况要注意笔刷一定要稍微干燥一点(译者注:意思是大比例稀释,调好颜色,然后笔涂之前在餐巾纸上把大部分颜料都擦掉,让笔刷上只留下淡淡的颜料,这样可以让笔涂效果柔和很多,毕竟这里不是上底色,而只是为了达到创造对比度的目的。),然后用较亮色的油画颜料提亮防磁装甲的表面。
Further contrast can be made amongst partsby blending oil paints. Subtle dry-brushing of light oils was also used to hilightthe zimmerit surfaces.


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Photo 14-15 图片14-15
图片14和15呈现了模型完成渐变色调调节之后的效果。您可以看到炮塔顶部两个面板部分的连接处我用了黄色来区分,同时这处黄色还丰富了灰褐色表面的色彩。色调调节绝不仅仅是用简单的变亮变暗这种渐变效果来创造体积感和增加对比。为了实现这种风格,其实您还可以增加别的颜色,比如红色,蓝色,黄色来调整色调,以获得不同部件之间的对比。
Photos 14 and 15 show the model with all ofthe different gradients and tones added. You can see where yellow was used tofurther distinguish the two top plates on the turret from each other while alsoadding a flare of colour to these grey-tan surfaces. Colour modulation is notjust about lightning and darkening tones in order to add distinction amongstparts and create volumes. With this style you can also add more red, blue andyellow colors to shift the hues as another way to obtain contrast betweenparts.


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Photo 16-18 图片16-18
由于在底色上我们已经混合了五种色调,所以在喷涂迷彩的时候我只要分别准备绿色和红棕色的两种色调就可以了,一种高光色,一种阴影色。 IV号坦克的伪装中包含了非常细致的线条,在这么细的区域切换这两种色调其实经过旧化之后就并不明显了。首先我用高光绿色和高光红棕色喷涂完整的迷彩。接下来,我将两种颜色调深再把深色调颜色喷涂到靠近下部和内部的所有阴影区域内。
Although five tones were mixed for thecolour modulation in the base coat, I only needed a light and dark shade foreach of the green and red brown camouflage colors. The camouflage on thisPanzer IV consisted of rather fine lines. Shifting the tones in these thinareas would not be too noticeable after weathering. First I airbrushed thecomplete camouflage using the light tones of each colour. Next I airbrushed thedarker shades for the green and red-brown onto the lower parts and inside allof the shadowed areas.

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Photo19-22 图片19-22
上水贴之前所需的最后一个步骤我用田宫透明清漆整车喷涂。大家可以看到,我还混合了一点黄色在里面,这样这个透明保护漆实际上变成了一种透明浅黄色的滤镜。加入的这点黄色调能够丰富一下车体沙灰色的色彩,同时把喷漆和笔涂展现的不同色调巧妙的融合在了一起。注意观察图片22,看看这种透明黄滤镜效果是怎么体现在第二块和第四块裙甲上的,它们与第一块和第三块裙甲是不是创建了非常微妙的对比呢?
The final step needed before applying thedecals was to airbrush the entire model with a few light coats of Tamiya clear.I mixed a light yellow filter for this step. This yellow tone added a bit ofcolour to the rather sand-grey highlights while subtly blending the differenttones applied both with the airbrush and paintbrush. Note how more filters ofthe clear yellow were added to the second and forth hull schürzen to createsubtle contrast from the first and third ones.




又到了总结的时候。如前面这一节所呈现的。您可以看到:
-      在旧化后的模型上,那些小细节上比较高亮的色调是如何被中和(或说柔化)的(例如:裙甲支架的铰链和支撑脚)。
-      注意在制作过程中,我们是怎样突出部分区域或细节的高光色调的,让他们看起来更加生动和立体,比如舱门,裙甲,指挥塔。
-      使用色调调节法的最大诀窍就是要知道怎么平衡高光和阴影的应用,不能让他们在模型完成之后看起来特别突兀。
色调调节已经让这个模型变得非常生动了,所以你在做掉漆和其他旧化步骤时也要注意做好色调调节。虽然这样一步步的去调整色调有点花时间,但其实并不算太难,你们说呢?本书后面还有些示例也是这么做的。
As wrote earlier, you can see how thelighter tones on the smaller details such as the hinges and braces for theschürzen mounts have been reduced after the weathering steps on the completedmodel. Note how the lighter areas and details such as the hatches, schürzen andcupola are especially evident making the model much more dramatic andthree-dimensional in appearance.  Thebiggest trick of all when using colour modulation is to know how to balanceyour application of the lights and darks effectively without making it look tooobvious on the completed model.  
You may need to also alter the tones of thechipping effects and weathering steps a bit when the colour modulation on amodel is rather dramatic such as in this example. Although a bit time consumingaltering the tones during these steps is rather easy. There will be someexamples later in this book on doing so.
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 楼主| 发表于 2018-9-7 14:59:21 | 显示全部楼层

COLOUR MODULATION OVER CONTOURS 轮廓部分的色调调节

本帖最后由 facewest 于 2018-9-7 15:19 编辑

COLOUR MODULATION OVERCONTOURS 轮廓部分的色调调节

第三个例子,我们将在这辆JS-3炮塔上的凸起轮廓位置引用色调调节。
We are going to be applying this third exampleof Colour Modulation onto a JS-3 turret containing convex contours

这一次我要在这辆JS-3的圆顶状炮塔上做色调变化。具体使用的手法和涂料和前面两个小节是一样的。
This time I will alter the tones to stressthe dome-like turret of this JS-3. The types of paints and techniques in thisexample will be the same as explained earlier.



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Photo 1-3 图片1-3
首先,老规矩了。我在车体底部和炮塔下部预制阴影。
I started this finish by applying a shadowcoat onto the undersides of the hull and lower parts of the turret.


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Photo 4-6 图片4-6
接下来,我用深橄榄绿一点点的制造高光。你可以看到我将渐变中的高光色放在了这个半球体炮塔的上半部分 继续加入黄色和白色来提亮。我在这个模型上也用了差不多5种不同的绿色色调来创造渐变。
Next I continued with a dark olive greenand worked up toward the highlights. You can see that I am focusing the lightershades of the gradients onto the upper parts of the radiuses. Yellow and whitewere used to lighten the shade. About five different green tones were used tocreate the various shades and gradients on this model.



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Photo 7-8 图片7-8
想要最大限度的利用色调调节风格,还需要来点想象力。在这个例子中,高光集中在铸造炮塔顶部,产生了顶部螺栓板和主炮保护罩的对比度(译者注:这里具体手法亚当没有完全呈现出来,但通过图中可以看出来,车顶的这块螺栓板的色调明显要比周围来的深,目的是利用这个对比度来突出这个圆弧形炮塔的轮廓,这恐怕就是他说的想象力的一种吧。通常我们都会在顶部用最高光,但这次他却反其道行之,最顶上的用了深色调。)其他的模型爱好者可能会把高光放在炮管保护罩或顶板上,也能达到同样有效的目的。记住,色调调节是非常灵活的。
Sometimes a bit of imagination is needed asto where to place the highlights in order to get the most out of the colourmodulation style. In this example highlights were added to the upper turretcasting generating contrast between the mantlet along with the bolted plate ontop. A different modeller might have instead decided to place the highlightsonto the mantlet and/or top plate while also creating an equally effectiveresult. Remember that this style contains a bit of flexibility.


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Photo 9-10 图片9-10
这儿还有一个简单的例子。这张图片中,除了车体侧面典型的垂直渐变之外,我还在转角处和轮廓较低的位置增加了一点点微弱的亮色,来帮助强调这款T-34/85的炮塔的轮廓。每个人都可以通过不同的方式把这种风格应用到自己的模型上,这就是为什么用色调调节完成的模型总是蕴含着独特的创造力。
Here is another quick example. Along withthe typical vertical gradients on the walls I also added faint highlights overthe corners and lower contours to help stress the shape of this T-34/85 turret.There are always different ways in which an individual can apply this styleonto a model. That is why colour modulation gives us another level ofcreativity when finishing a model.



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Photo 11-12 图片11-12
回到JS-3上来。当炮塔上的高光处理完毕之后。我就回过头来,在各个角落用深色橄榄绿加深色调。通过图片你可以看到我是如何利用色调差异强调炮塔的轮廓和边缘的。
Once the highlights on the JS-3 turret werefinished I went back over all of the corners with a darker olive green tone.You can see how the differences in tones stress the contours and edges on theturret.



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Photo 13-15 图片13-15
又是老方法了,用水漆为小细节提亮。最后一步就是在炮塔上薄喷一层浅绿色滤镜,柔化一下各种色调的对比并且为高光色丰富一下色彩。(译者注:至于怎么做浅绿色滤镜,相信看过前面虎式的浅透明蓝,IV号的浅透明黄,这里已经可以举一反三了。
Again, acrylics were used to add furtherhighlights to smaller details. The final step consisted of airbrushing a lightgreen filter over the turret in order to subtly blend the different shadeswhile adding a bit more colour to the highlights.


又到了总结时间:
-      大家都可以通过各自不同的方式在我们的模型上运用色调调节。
-      色调调节让我们在制作模型过程中产生了无穷的创造力。
为了进一步证明这一点,我会再举一个几乎囊括前面三节讨论的所有内容的示例。
There are always different ways in which anindividual can apply colour modulation onto a model. That is why the colourmodulation style gives us another level of creativity when finishing a replica.To further demonstrate this lets move onto one more example of colourmodulation reversing almost everything we have discussed in the three previoussections.
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 楼主| 发表于 2018-9-7 14:59:43 | 显示全部楼层

NEW COLOUR MODULATION 新色调调节

本帖最后由 facewest 于 2018-9-7 15:46 编辑

NEW COLOUR MODULATION 新色调调节

每个人都可以用自己不同的方式在模型上应用色调调节。
There are different ways in which an individualcan apply the Colour Modulation style onto a model.

为了进一步说明色调调节给模型创作带来的创造性,我们再来看看另一个示例。它反映了我们在前面三个小节中看到的所有内容,而且还呈现出了更漂亮的效果。
As you have now read this is why colourmodulation gives the modeller another level of creativity when finishing areplica. To demonstrate this further let’s now look at one more example ofcolour modulation reversing nearly everything we have looked at in the threeearlier sections while still creating an equal or if not better looking result.  

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针对这个LVT,我们在模型不同表面的由上往下创造阴影和高光(译者注:和之前不同的是上深下浅)。在这个示例的操作上,我们会遵循大多数人在艺术课上学的基本素描理论中有关光和阴影的传统规则。事实上,我发现这种方法用在色调调节上更加有效。我简单的称之为“新色调调节法”。尽管在这个例子中,高光和阴影的应用相比之前进行了个颠倒,但其实所用手法和颜料和前面三节是一样的。
With this LVT I will be starting with thedarks on the upper parts of the different surfaces and moving down toward thelights. This example will follow more of the traditional rules of lights andshadows taught in the basic sketching lessons that most of us remember duringart class. In fact, I am finding this method to be more of an effectiveapproach when using the colour modulation style. Right now I simply refer to itas the New Colour Modulation Style. Although the application of the lights anddarks will be reversed for this example we will be using the same paints andmethods seen in the earlier three examples.




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这个LVT的形状非常的复杂。因此,制作过程中会用到大量的遮盖,然后在喷不同的阴影部分中逐渐把遮盖移除。为了更快的制作,我会分区遮盖,然后一个部分一个部分分别完成渐变。因为换喷笔内的油漆要比不停的撕下,再蘸上遮盖带快的多。那么,首先第一步,我先调出五个不同的色调的漆,由暗到亮,放在瓶子里备好。
This LVT model has a rather complex shape.As a result a lot of masking would need to be applied and then removedthroughout the different application of the shades. Therefore I felt that itwould be faster to mask and finish the colour gradients on one section at atime. I felt changing the paint in my airbrush for every shade in each sectionto be quicker then constantly applying and removing the tape as I workedthrough each shade. To do this I mixed five different tones starting from darkat number one up through the light at number five.



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Photo 1-4 图片1-4
“Shadow coat” 喷涂在了车体侧面和车体下方的内部。舱口的内部区域也有一层黑色。然后用象牙白在舱口里面这一圈上一层白色,形成微妙的白色渐变。可以在打开舱门时,为内部这些有限的可见细节营造一层漂亮的阴影效果。
The shadow coat was applied to the innerparts on the sides and beneath the hull. The inner areas around the openings ofthe hatches also got a coat of black. A light ivory tone was then applied tothe interiors around the openings creating a subtle white gradient. This effectwould give a nice shadowed look to the rather limited detailed visibleinteriors around the opened hatches.



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Photo 5-6 图片5-6
接下来,我们给外侧,车体上部,还有炮塔图上深灰色底色。
Next I applied a dark grey coat to the outersides and upper hull and turret.



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Photo 7-8 图片7-8
我开始通过遮盖,并在驾驶员舱的前部和侧面应用了完整的渐变。同时机枪部分也用浅色提亮了。
I started by masking off and applying thefull gradients onto the front and sides of the armoured housing protecting thedriver and front MG operator. I also finished the area around the rear turretsthat would mount the 30 caliber machineguns.



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Photo 9-12 图片9-12
接下来,继续通过遮盖在上部车体的其余部分喷涂这几个色调创造渐变。先喷两侧,然后再遮盖喷完车体顶部。
Next I masked and applied each of the tonesthat would make up the gradients on the rest of the upper hull. I finished thesides then masked off and completed the top plates.



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Photo 13-16 图片13-16
再接下来是挡泥板,一块一块的遮盖喷涂(是不是看着都觉得很累人啊?慢工出细活听过没?骚年!)注意这几块挡泥板上的渐变,也是沿着对角线呈现出来的。从内角向外角由明到暗。(译者注:还记得第二节那辆IV号坦克的群甲么?)通过这些步骤为每块挡泥板创建了对比。同样,在下车体侧面那六块大的护甲上也是相同的方式,每块对角线呈现高光渐变。(图中是从右上往左下呈现高光)。车前护板也是用遮盖的方式来进行喷涂。
I masked and applied the gradients ontoeach of the fenders. Note that the gradients were applied with the lightsstarting at the inner corners moving diagonally outward to the darks creatingcontrast between each section. Contrast was created between the six largesections that make up each side of the lower hull in the same manner with thehighlights terminating in the lower rear corners. The larger front plates werealso masked them painted.


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Photo 17-20 图片17-20
在一些细节处笔涂阴影来增加色调。在这个例子里,我聚焦在车体顶部的高光位置。我想了想,调了一个更亮的色调,并把它运用在车体顶部的一些特定细节,比如舱门。注意,在笔涂这种较亮的色调时,要多加些稀释剂。最后,调出浅透明蓝色的清漆,作为滤镜给整车喷涂一层,把这些渐变色巧妙的糅合在一起,并为后续的旧化做好准备。
Different shades were painted over some ofthe details by brush adding more tones. In this case I focused the lights overthe upper surfaces. During this time I had an afterthought to mix one morelighter tone and apply it to some specific details on the upper hull such asthe hatches. Remember to continue adding more thinner to the lighter tones. Afew light blue coats of Tamiya clear were airbrushed over the entire model tosubtly combine the gradients and also prepare it for the upcoming weatheringsteps.



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总结时间:在这个例子里,大家可以看到我在喷涂渐变时的方向发生了对调。(译者注:大家注意这个LVT和之前两节的渐变方向。之前通常在喷涂的时候都是下深上浅,但在这个例子里却是下浅上深。但并没有影响总体视觉感受,甚至更加漂亮。所以CM并不是教条的,目的是创造色差。)正如我所说,每个人都可以通过自己不同的方式把色调调解这种风格运用到模型上。如果能够很好的完成,那么一定会给你的模型带来独树一帜的外观,并且把观看者的注意力吸引到你想要去表达的细节上。
In this example you can see that I took anopposite approach when applying the gradients. As I said there are differentways in which an individual can apply this style onto a model. If doneeffectively it can really give a unique appearance to even the most commonmodelling subjects while drawing attention to details.


在本章节的几个例子中,LVT,IV号坦克,都有着跨度非常大的明暗对比。需要后续的掉漆和旧化效果再次改变它们的色调。这些方法我们会在本书后面的章节介绍。
The LVT in this example, like the PanzerIV, has a rather large amount of contrast between the lights and darks. Somealteration of the colors in both the upcoming chipping and weathering effectswould be needed between the light and dark areas.  Methods on doing this will be discussed lateron in this book.


好了,下一期开始我们要进入旧化阶段了。先从滤镜开始吧!
Now we will move into the weathering steps. Inthe next section we will be discussing filters.  

本期结束,敬请期待下期吧!
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发表于 2018-9-7 15:59:33 | 显示全部楼层
谢谢facewest的传授,谢谢你无私的帮助。
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发表于 2018-9-7 16:03:46 | 显示全部楼层
感谢翻译辛苦辛苦
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发表于 2018-9-7 17:08:25 | 显示全部楼层
反正我就记住Adam一句话“最好的CM在作品完成后是看不出来的”大致这个意思。
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 楼主| 发表于 2018-9-7 17:26:20 | 显示全部楼层
草木一秋 发表于 2018-9-7 15:59
谢谢facewest的传授,谢谢你无私的帮助。

我只是个搬运工。技艺都是亚当大师的。
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 楼主| 发表于 2018-9-7 17:31:18 | 显示全部楼层
Dartagnan 发表于 2018-9-7 17:08
反正我就记住Adam一句话“最好的CM在作品完成后是看不出来的”大致这个意思。

我理解的并非这样,CM的目的是创造对颜色的对比,和色差。一定是可以分辨的。所谓的看不出来仅仅是一开始喷涂的高对比度渐变在后续的步骤中柔化了。 就如之前一位高手所说,CM觉不仅仅是喷涂渐变这么简单。这篇介绍里你也可以看到,在不同的裙板或者挡泥板之间创造色差对比,为小零件手涂高亮度颜色,这都是CM
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发表于 2018-9-7 18:06:08 | 显示全部楼层
facewest 发表于 2018-9-7 17:31
我理解的并非这样,CM的目的是创造对颜色的对比,和色差。一定是可以分辨的。所谓的看不出来仅仅是一开始 ...

只是搬运一句原话,没有什么别的意思。我也相信Adam的本意并不是说要做到CM做了跟没做一样。。。
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