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[原创资料翻译] [连载] 亚当的模型指导书 下册 第八期 褪色和添加阴影

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发表于 2018-10-9 11:48:05 | 显示全部楼层 |阅读模式
本帖最后由 facewest 于 2018-10-15 13:52 编辑

一转眼假期就过完了。。。说好的模型居然一个都没有完工。
既然如此,那就继续学习吧!本章节说的是褪色和添加阴影的技术。记得以前有一位前辈写了篇文章叫做“滤镜是滤镜,褪色是褪色”来讲滤镜和褪色的区别,当然他们在手法上和呈现出来的样子上有一定的区别。但从广义上来讲,所谓的褪色也算是滤镜的一种。用亚当的鸡汤语录来说----还是需要看你自己想做成什么样子(我们小白其实对模型最终能做成什么样子其实没什么谱!)。所以我建议大家也可以岛上搜一搜这位前辈的文章。结合之前滤镜那一期和本期一起再来看看,相信会更有收获。(这次占两个楼层)

前几期传送门:
第一期: 色彩区分 http://www.moxdao.com/thread-56135-1-1.html
第二期:底色和迷彩的喷涂  http://www.moxdao.com/thread-56231-1-1.html
第三期:色调调节(CM技法)http://www.moxdao.com/thread-56473-1-1.html
第四期:滤镜  http://www.moxdao.com/thread-57160-1-1.html
第五期: 图案和标识徽章  http://www.moxdao.com/thread-57797-1-1.html
第六期:发胶掉漆制作冬季涂装  http://www.moxdao.com/thread-57939-1-1.html

声明:所有图书和图片的版权均归原作者和原出版社所有,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,但请提前联系本人。非常感谢!


FADING AND ADDING SHADOWS 褪色和添加阴影

在上一期,我们呈现了渍洗是怎样构建阴影以及强调细节的。
In the last section I demonstrated howwashes are used to create subtle shadows enhancing details.


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现在我们已经明白了渍洗会为底色增加更多的色调。还有一些方法可以和渍洗一起作用,用来给模型添加更细致的阴影和色调变化。至于这么做的目的当然还是那句话----在各个部分之间创造更多的对比。在这两幅图片中的突击炮就是个很好的例子,大家请注意车顶两块面板中间的那处浅灰色,还有车顶和侧面之间的细微的黄色调,再注意看看车顶前部护盾和车体之间角落处的棕色阴影,这些操作都是为了“打破”模型整体色调,从而在各个部分间创建对比的技法。褪色和添加阴影也是个非常有趣的技法,这个技法让广大模友在制作模型时有了更多的自由度,做出属于大家自己的漂亮模型。有一点需要提醒大家,在所有的旧化步骤结束后,这些效果会显得若有若无,很玄乎的一句话,具体点说就是在做好的模型上能够明显看出来进行过褪色,创建过阴影,但却不能看上去非常的突兀。因为我们要根据模型最终整体呈现来平衡各个技法产生的影响。
We also know that washes add more tones tothe base coat. There are other methods available that can be used inconjunction with washes to add yet more dramatic shadows and tones creatingfurther contrast amongst parts. The 30,5cm SFL Bär in these two images is agood example. Note the subtle yellow and light grey tones breaking the side,rear and upper plates of the superstructure. You can also see the brown toneblended into the corners of the top plate and protruding mantlet. Fading andadding shadows are fun techniques allowing the modeller more creative freedomwith the overall finish. After all of the weathering these effects will beevident but less obvious. This is very important to remember as you will alwaysneed to balance your effects depending on what you will want the overall finishto look like.



在做褪色和添加阴影的时候我们通常会用油画颜料,当然珐琅漆或丙烯水漆也可以用。我个人觉得油画颜料是更理想的选择,因为它的干燥时间非常长,让您有足够的时间把他们调整成你所想要的样子。在光泽表面上用过油画颜料之后整个表面也会呈现消光效果。市场上有很多具有相似特性的油画颜料选择,大家可以尝试不同类型,记住,并不是最贵的就一定是最好的。
Oil paints are normally used for fading andadding shadows although enamels and acrylics can also be employed. Oil paintsare ideal for these steps because they dry very slowly allowing you plenty oftime to blend them to your liking. Oil paints also dry to a matt finish afterthey set reducing a glossy varnish. As mentioned, there are lots of oil paintson the market with very similar properties. Experiment with different typesremembering that the most expensive products are not necessarily the best.



在第一部分的例子中我们将呈现一些在单色调模型上制作褪色和添加阴影的简单方法。第二部分,我们会采用相同的技术让它在复杂的迷彩上呈现得更为显著。
The first examples will show some simplemethods for fading and adding shadows that can be applied over monotonefinishes. With the second part of this section we will be employing the sametechniques but a bit more dramatically over a complex camouflage.




ADDING SHADOWS AND FADING ONA SINGLE TONE FINISH 单色模型的褪色和增加阴影

第一个例子,我会在这辆JS-3坦克的车体上呈现褪色和添加阴影。
For the first example I will demonstrate bothfading and adding shadows to the hull of this JS-3 Soviet Tank.

如您所见,在这辆车的底色是经过色调调节的绿色。在单色调的底色上完成轻微的褪色和阴影是非常简单快捷的。我们一起来看一下。
As you can see this model contains a greenfinish with faint colour modulation. The subtle fading and shadows applied to abase coat containing a single tone finish can be quick and easy. Let’s look atthis example.



09-01-01.jpg    09-01-02.jpg
09-01-03.jpg    09-01-04.jpg    09-01-05.jpg
Photo 1-5 图片1-5

调制好棕色的涂料(
译者注:和渍洗液一样,稀释油画颜料),然后给焊缝,挡泥板的边缘进行描边。接下来用珐琅稀释剂把笔刷洗一洗,在餐巾纸上擦一下,然后给这些棕色线条做一些修补工作。(译者注:手法和在消光表面做渍洗那一章节提到的一样。)
After mixing a brown tone I startedoutlining details like the weld seams and fenders. Next I cleaned the brush inenamel thinner, wiped it on a napkin, and started blending the brown lines.



09-01-06.jpg    09-01-07.jpg    09-01-08.jpg   
09-01-09.jpg    09-01-10.jpg
Photo 6-10 图片6-10

我用喷笔喷气的方式吹干笔刷。用这个干笔刷,来完成刚才那些地方的修边工作。
I dried the brush completely by blowing itwith air from my airbrush. With the paintbrush completely dry I finishedblending the brown oil paints.





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Photo 11-14 图片11-14

接下来,我们用混合多种颜色油画颜料的方法为模型的底色增加更多细微的色调。在这个例子中我用了黄色,绿色和棕色一点点地不规则的点在绿色车体表面,然后用蘸有稀释剂的笔刷把他们混合起来,用这种方式来丰富底色的颜色。另外,您可以用浅灰色和白色等颜料来淡化颜色,这就是我们称之为褪色的技法。具体用什么样的颜色在底色表面做褪色取决于你自己的目标和想要做成什么样子。褪色技法本质上也是一种滤镜。在操作上要注意,在车体的垂直表面,蘸了稀释剂的笔刷要沿着垂直的方向把颜料混开,而在水平面上,例如挡泥板的顶部,要以打圈的方式把颜料混开。
Blending selected oil colors can help toadd more subtle tones onto the base coat of a model. For this example I blendedyellow, green and brown tones to enrich the base colour. Conversely you can uselighter grey tones and white to fade a colour. This is why modellers refer toadding oils in the manner as, “fading”. It depends upon the subject that youare painting and what you want to end up with. Fading in essence is a type offilter as discussed earlier. Use a vertical blending motion on the sides of thevehicle and employ a tapping motion on the horizontal planes of the model suchas the tops of these fenders.   



09-01-15.jpg
Photo 15 图片15

在图片15中,我们可以看到车体上的这些效果:
1.    如前面一期所述,我们已经整车渍洗了一遍,添加细微的阴影,突出了螺栓,接缝等这些小细节。
2.    接下来,我们用棕色油画颜料在焊缝等处进行描边,制造更生动的阴影,和更大部件的对比度,比如挡泥板和其他的钣金零件等。
3.    我在车体表面用褪色技法,混合了绿色,黄色,棕色的小点,在绿色底色上创造一层更加微妙的色调。
In photo 15 we can see the followingeffects on the hull. First washes have been applied as discussed earlier to addsubtle shadows hi-lighting details such as bolts and seams. Next, brown oilswere blended to create more dramatic shadows generating further contrast aroundweld seams and the bigger details such as the fenders and other sheet metalcomponents. Thirdly I blended bits of green, yellow and brown over thedifferent surfaces of the model to enrich the green creating more subtle toneswhile subtly blending the colour modulation.




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Photo 16-18 图片16-18

在这个LVT的例子中,我混合了浅灰和蓝色颜料点在模型上,制作“褪色”效果。
In the example of the LVT I resulted to lightergrays and blues to add more tones.  



09-01-19.jpg    09-01-20.jpg
Photo 19-20 图片19-20

在用笔刷把颜料混开之后,您可以用干笔刷(无需蘸稀释剂)进一步把颜料涂抹均匀。
Remember that after blending the oils youcan spread them further and more evenly using a dry brush without anythinner.  、、





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Photo 21-26 图片21-26

因为LVT水陆两栖战车经常要在海水中出没,所以这款模型要包含大量的锈色。我混合了更深的棕色油画颜料来做这些锈色垂纹和沉积,用来增加对比度,而且也可以会后面做锈打个底。
As a result of operating in salt water thiscompleted LVT would contain a large amount of rust tones. I took this moment toblend some more brown oils that would add further contrast but also act as abase for the anticipated rust tones that would be applied later on.





09-01-27.jpg    09-01-28.jpg    09-01-29.jpg
Photo 27-29 图片27-29

与滤镜和渍洗一样,在消光表面上擦拭油画颜料的方式会略有不同。首先,我用红色,黄色,棕色的油画颜料点在E-50的红色底色上,然后用稀释剂刷开,增加一些微妙的色调。在观察塔周围用棕色增加阴影。大家还记得不,之前这个E-50的观察塔是假组的,这里就体现出好处了,上棕色阴影非常的方便。最后,用锈橙色在焊缝处强化用来把前面板和侧部面板,以及后面板和侧部面板区分开来。
As with filters and washes you willdiscover that oils blend a bit differently over matt surfaces. To start with Iused red, yellow and brown oils to add more subtle tones to the primer redcolour of this E-50. Brown shadows were blended around the cupola. This is oneexample of the advantages for keeping parts unglued until the model iscompleted. An orange colour was used to break apart the front and rear platesfrom the sides of the turret.   





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Photo 30-34 图片30-34

由于哑光表面的粗糙材质,所以在上面用刷油画颜料做褪色的确比较难。完成上面一步后,我觉得橙色用的过于强烈了,为了减少图片30中看到的那种效果,我又在这些区域喷涂了微量的氧化红底色。所以,在我们做模型的时候,留一些底色的漆用在后面的步骤中进行微量的修饰是非常有用的,不要底色喷完之后就全部扔了,那样需要补色的时候再调可就费时费力咯!
由于应用了色调调节,所以本期中大家看到给JS-3,LVT和E-50这三款模型增加阴影对创建对比度发挥了非常大的作用。下一个例子中的JSU-152包含了相当复杂的迷彩伪装,使得我们在做色调调节时非常的困难。对于这种情况,我们只需要通过褪色和创建阴影就可以为其不同细节之间增加对比。
It is more difficult to blend oils over a mattsurface because of its minute rough structure. After finishing this step I feltthe orange tones to be too intense. In order to reduce this effect seen on thesides of the turret in photo 30 I airbrushed some faint amounts of the basecoat over these areas. Again, it is always good to keep some extra amounts ofthe basecoat mix on hand for subtle touch ups as seen here. Because of thecolour modulation the shadows created in this section took on more of asupportive role in adding contrast to the JS-3, LVT and E-50 models. The JSU inthe next example contains a rather complex camouflage making the use of colourmodulation more difficult. For that case I would need to depend only on the washesfading and shadows to add more contrast amongst its different details. Althoughmore of a review after this section, I’ll further demonstrate the potential ofthese techniques.
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 楼主| 发表于 2018-10-9 11:48:26 | 显示全部楼层

FADING AND ADDING SHADOWS OVER A CAMOUFLAGE迷彩上的褪色和增加阴影

本帖最后由 facewest 于 2018-10-9 13:38 编辑

FADING AND ADDING SHADOWSOVER A CAMOUFLAGE迷彩上的褪色和增加阴影


09-02-00.jpg
接下来,还是拿这个JSU-152作为例子,我们将在色彩丰富的迷彩底色上添加阴影和褪色效果。
During this example we will be adding shadowsand fading effects onto a rather vibrant camouflage.



尽管有强烈的迷彩效果,但我们要呈现的褪色和添加阴影将和之前的渍洗效果一起,让模型上的各个部分和细节之间互相区分。这一小节使用的具体操作技法和上一节是一样的。
These effects will work in conjunction withthe washes applied earlier to help break up the different details on thereplica despite the strong camouflage. You will see that the techniques usedare pretty much the same as applied in the previous section.





09-02-01.jpg
09-02-02.jpg    09-02-03.jpg
Photo 1-3 图片1-3

混合并稀释好深棕色的油画颜料(译者注:类似渍洗液操作手法)之后,我想象着把模型分成了好几个部分,在这些部分之间的连接处用深棕色描边,来添加阴影。(译者注:这里被亚当说的好像很玄乎。其实简单来说就是找车的接缝处,尤其是大零件的接缝处。
After mixing a dark-brown colour I brokethe model down into imaginary parts and started outlining details as shown.




09-02-04.jpg    09-02-05.jpg
Photo 4-5 图片4-5
接下来,我用蘸有珐琅漆稀释剂的笔刷把多余的油画颜料晕开。然后用干笔刷把这些颜料在模型上刷开,去除痕迹。
Next I started blending the oils using apaint brush dampened with enamel thinner. After blending another brushcompletely dry of any thinner was used to finish merging the tone.





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Photo 6-17 图片6-17
图片6-17 呈现了我在各个部位用油画颜料创建阴影和面板之间对比的例子。
Photos six through 17 display more examplesof where I blended oils to create face shadows and contrast between parts.  





09-02-18.jpg    09-02-19.jpg
Photo 18-19 图片18-19
将不同颜色的油画颜料点在在模型表面,然后用稀释剂擦拭后再模型表面上增加更多的色调,同时巧妙的把迷彩色混合起来。我在这里用的是颜色是浅棕色和浅黄色。(译者注:大家可以留心图片中浅黄色和浅棕色点在车体上的位置
Different coloured oils were blended overthe surfaces of the model to add more tones while subtly blending thecamouflage. The colors blended were primarily a buff with a touch of brown.




09-02-20.jpg
Photo 20 图片20
把油画颜料一点点地“戳”在类似车顶这样的水平面板上。(译者注:注意手法,亚当用的是“tap”这个单词,直译过来是敲打,我翻译成戳可能更好理解一点吧。然后再用蘸了一点稀释剂的笔刷采取打圈的手法把这些颜料晕开。
Use a tapping motion to blend the oils onhorizontal surfaces.




09-02-21.jpg
09-02-22.jpg
Photo 21-22 图片21-22
图片21-22展示了完成之后的效果。您可以看到,渍洗和褪色及添加阴影效果是非常完美的结合在一起呈现出来的。这些技法结合后,有助于区分模型的各个部分和细节----尽管它有非常复杂的迷彩图案。
Photos 21 and 22 show the JSU-152 after allof the oil techniques were applied. You can see that the washes appliedinitialy also work in conjunction with the shadows and fading helping todistinguish each of the sections and details of the model despite its complexcamouflage.




到了这一步,我们就准备好在模型上做掉漆和磨损效果了。战车模型爱好者把这一步统称为“掉漆”。做掉漆其实包含很多技术,不是一种手法,更像是一个流程。所以,做掉漆可能会非常的繁琐但如果做的准确又好的话能够大大的提高模型的仿真度。好了,下一期我们就会给大家呈现几种不同掉漆方法的示例。
At this stage we are now ready to move ontoreplicating chips and flaws in the paint. Armour modellers simply refer tothese techniques as “chipping”. Chipping is more of a process as it involves anumber of techniques. It can be very tedious but if applied properly chippingcan really enhance the authenticity of your model. Lets again move forward withsome different examples of chipping.



本期完,谢谢观赏!下一章将介绍掉漆技法,内容非常多,我可能会分成两期呈现给大家。 继续好好工作吧!
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发表于 2018-10-9 15:32:02 | 显示全部楼层
多謝樓主的分享!!
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发表于 2018-10-9 18:46:50 | 显示全部楼层
多謝樓主的分享!!
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发表于 2018-10-9 19:22:18 | 显示全部楼层
支持!!
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发表于 2018-10-9 19:26:19 | 显示全部楼层
翻译君辛苦啦
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发表于 2018-10-9 21:27:45 | 显示全部楼层
学到了!!谢谢楼主!楼主辛苦了!
来自安卓客户端来自安卓客户端
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发表于 2018-10-10 00:17:10 | 显示全部楼层

感谢楼主分享
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发表于 2018-10-10 05:29:46 | 显示全部楼层
感谢楼主,辛苦了
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发表于 2018-10-10 08:58:20 | 显示全部楼层
多谢翻译,辛苦辛苦
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