老外如何让一个卡通人物诞生的（中英对照未完）

鼯鼠

不知不觉，我已经和claybutler成老朋友了，当我问起你怎么创作出一个黏土形象的时候，他给了我以下资料，来看看claybutler的卡通制作过程吧




So, how do you create these cartoons? Note: I used this method from 1993 to 2000. Check below for my new method.

因此，你怎样创作漫画？ 注意： 这种方法我从1993 用到2000 。下面检查我的新方法。

First I capture my ideas down in a quick stick figure sketch on typing paper. Speed is the key here as a great idea can quickly fade. I'm not kidding...this is how I put my ideas down.

首先像我一样用最快的迅速找到一张打字纸。灵感是一种极妙的东西，在它迅速消失之前我们要抓住它，速度是这把钥匙。 我没开玩笑 . ..看看我怎样放下我的想法的（如图）。

Quick stick figure sketch  

Once they're down the cartoon is essentially done as far as I'm concerned. Next comes the work...about four hours of penciling, inking, touch-ups and stripping in the headline and bi-line.

下莱，我们那就有事情做了－－－看到上面的画了吗？就我而言，我把它只是记下来。可以用铅笔用墨水笔修饰并且在标题，放在那里脱水4个小时。



First I grab a sheet of 11" x 14" Pentalic Paper for Pens and create a box 9 1/2" x 9 1/2" with a technical pencil (HB lead) and a T -square. Then I create a 1/2" strip along the top for the headline. Next I divide the remaining space into four equal sections.

首先，我抓住一片11" 14 x" Pentalic Paper（这是什么纸还不知道，如图）给钢笔和由于一支技术铅笔创造一箱子9 1/2" x 9 1/2" ( HB 铅) 和T场景。 然后我建立一1/2" 沿着标题的顶脱去。 下一我把剩下的空间分成4 个相等的部分。


Pentalic PaperI love this stuff. It takes an ink line well, it's thin enough to use a light table with and it cost about $12.00 per 50 sheets.
我非常喜欢这种纸，很好地花费墨水轨迹，很薄很轻（light table不知道是不是拷贝箱啊，这样的比喻我不懂），它花费大约每50 张12.00 美元。

[此贴子已经被作者于2003-10-21 23:57:21编辑过]

鼯鼠

I draw directly with pencil in the first panel and begin blocking out my basic characters, scenery and dialog. Once it looks right I'll make a tracing of the first panel on a piece of typing paper using my light table. This will be my template for the other three panels.
我在第一个格子里用铅笔直接拉并且开始画出我的基本的特点，场景和对话。 下来就以第一个小组为基准用我拷贝箱在打字纸上画后面的。 这将是其它3 个格子的模板。

Using the light table I then move my template from panel to panel and loosely block in the scene. I know there will be changes in facial expressions and body language later so I focus mainly on dimensions and continuity.

然后利用拷贝箱我把模板一张张的制作出来把他们很好的融合在场景里。 我知道在面部的表达方式和身体语言方面将有变化，过后因此我主要集中于尺寸和连续性。

Now it's time for the details. I add the nuances and additional dialog. I leave little to chance, so my pencils are well fleshed out before I start inking. Personally I want to make very few decisions during the inking process. The time for experimenting is during the sketching process

现在该是细节的时候了。 我增加细微差别和另外对话。 我很少去改动，因此在我开始用墨水写之前，我的铅笔被充实得好。 就个人来说我想要在用墨水写的过程期间做非常少决定。 做实验的时间是在素描的过程期间


I ink with a Reform Refograph by Alvin ( nib size .70) filled with Rapidograph Ultradraw ink. Unfortunately the Reform Refograph is no longer made and they're very hard to find. I feel the Reform is far superior to the Rapidograph. Large areas are filled in with a cheap watercolor brush. After the ink is dry I begin clean up with one of those gray puddy erasers. .

我用Reform Refograph by Alvin ( nib size .70)勾线，用Rapidograph Ultradraw ink填充，很可惜的是Reform Refograph不常有现在很难找了，我觉得Reform 比Rapidograph优良，大面积的填充用廉价的笔刷就行了，等墨水干了我就开始用橡皮清理干净

Last, I strip in my bi-line that I cut from a master sheet.

最后，我从上面把保护物除去。