Manga Character Composition Skills

什么是 Art Composition (构图)？构图即 COMPOSITION，为造型艺术的术语。把各部分组成，结合，配置并加以整理出一个艺术性较高的画面。艺术家为表现作品的主题意思和达到一定的审美效果，在一定的空间安排和处理人，物的关系 & 位置，把个别或局部的形象组成艺术的整体。

构图是创作者在一定空间范围内，对自己要表现的形象进行组织安排，形成形象的部分与整体之间，形象空间之间的特定的结构 & 形式。简言之，构图是造型艺术的形式结构，包含全部造型因素与手段的总和。

在各种造型艺术中，构图称呼有所不同，例如绘画的“构图”，设计的“构成”，建筑的“法式” 与“布局”，摄影的“取景”，书法的“间架” 与“布白” 等均指构图Composition。

构图法 (Art Compositions)

1. 黄金分割法构图 (Golden Ratio Composition)

什么是黄金分割法？这是公元前六世纪古希腊数学家 “An ancient Ionian Greek philosopher Pythagoras (Πυθαγόρας)” 所发现，后来古希腊美学家 “Plato (Πλάτων)” 将此称为 “黄金分割法 (Golden Ratio)”。这其实是一个数字的比例关系，即把一条线分为两部分，此时长段与短段之比恰恰等于整条线与长段之比，其数值比为“1.618：1”，或“ 1：0.618”，也就是说长段的平方等于全长与短段的乘积。其中一部分对全部的比等于其余一部分对这一部分的比，常用“2：3”，“3：5”，“5：8” 等近似值的比例关系进行引导美术设计和摄影构图，这种比例也称为“黄金律。

上面这张画是我从昨天到今天，完成的一张黄金比例构图示例。

以横 3：竖 2 的比例画出对角线，在对角线4更定点上面再画出垂直线，各交点连接出 ABCD 四个点，称为主角和配角配置构图法的动态对称。

比如说如果像此图将主要表现点放在 B 点上，次要表现点最好放在对角线 D 点的位置，可以达到自然跃入视线中两全其美的效果。

下面是两张比较学术的黄金分割法的几何图形 & 公式：

2. 三角形构图 (Triangle Composition)

什么是三角形构图？首先，让我们来看看下面的图片，这是一张鲜明的三角形构图。可以看到，三角形构图通常是以三个相同性质的人，物或景构成画面的三角形整体。由于三角形的三条边是由不同方向的直线合拢而成，而不同的线条组成不同形式的三角形，产生不同的趋势和变化，给人以不同的感受。

下面这张等腰三角形的三人构图，象金字塔一样，底边与画幅的横线平行，两条斜边向上汇聚，其尖端有一种向上的动感。这种构图在边学上最稳定，在心理上给人以安定，坚实，不可动摇的稳定感觉。

除了三人的三角形构图，两人和单人都可以形成三角形的构图，只要整体画面呈现三角形就可以了。

Beauty games: M.A.C. lipstick collaboration with Tencent mobile game sells out in 24 hours

The mash-up was an overwhelming success. Consumers placed over 14,000 pre-orders across the three platforms, and all five lipstick styles sold out across all sales channels within 24 hours of the launch. Photo: M.A.C.

It’s a rare case of the mobile game meets cosmetics brand. And it proves that a partnership may not have to make sense to everyone if it generates sales.

Recently, the extremely popular Tencent mobile game “Honor of Kings” (Western version titled “Arena of Valor”) and high-end cosmetics brand M.A.C. released five co-branded limited-edition lipsticks that were available on Tmall, the M.A.C. website, and a WeChat mini-program.

The impetus for the collaboration was inspired by the players’ demand. In an interview with Chinese media LadyMax, M.A.C. China marketing director Weng Yanling shared that they noticed players frequently mentioned the brand name M.A.C. when creating lip colors for their virtual characters in the game. In addition, both M.A.C. and “Honor of Kings” share a similar age demographic — between 18 and 24 years old — and female players overtook males in May 2017 as the dominant gender for “Honor of Kings,” which has more than 200 million monthly players since it first launched in 2015 and became the world’s highest grossing game in 2018, according to app market research firm App Annie.

The partnership moved forward under the lead of M.A.C.’s China team which approached Tencent with the initiative. While most collaborations like this require the go-ahead from the brand headquarters, the local China team, in this case, was given the freedom and support to create a plan.

Photo: Honor of Kings/Weibo

To further boost social buzz surrounding the campaign, stars from the hit reality TV show “Produce 101” were recruited to appear in the campaign. Even though the product is lipstick, the goal of the campaign was to court both female and male consumers. And the brand was able to amplify the message by creating marketing campaigns with a list of social media products within the Tencent ecosystem, including WeChat Moments ads, QQ groups, WeChat H5 pages, and mini-programs.

The mash-up was an overwhelming success. Consumers placed over 14,000 pre-orders across the three platforms, and all five lipstick styles sold out across all sales channels within 24 hours of the launch.

This is not the first time lipstick with local cultural appeal went viral. Last year, a lipstick set from Beijing’s Palace Museum that showcased a Chinese aesthetic became a hot product. It appears companies are increasingly leveraging lipstick to resonate with Chinese consumers, who not only desire to carry a piece of makeup but also an identity in their pocket.

本文转载：https://jingdaily.com/lipstick-tencent-game/

《盛世妆娘》玩游戏送化妆品！穿越游戏世界，就问你心动了没？

Luna's Diary 8, 经典游戏美术学习之旅，Playing Record

月亮学习笔记（第8篇）

標準摘選自： 

https://helpx.adobe.com/uk/photoshop/using/blending-modes.html

https://helpx.adobe.com/cn/photoshop/using/blending-modes.html

Normal

Edits or paints each pixel to make it the result color. This is the default mode. (Normal mode is called Threshold when you’re working with a bitmapped or indexed-color image.)

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Dissolve

Edits or paints each pixel to make it the result color. However, the result color is a random replacement of the pixels with the base color or the blend color, depending on the opacity at any pixel location.

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Behind

Edits or paints only on the transparent part of a layer. This mode works only in layers with Lock Transparency deselected and is analogous to painting on the back of transparent areas on a sheet of acetate.

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Clear

Edits or paints each pixel and makes it transparent. This mode is available for the Shape tools (when fill region  is selected), Paint Bucket tool , Brush tool , Pencil tool , Fill command, and Stroke command. You must be in a layer with Lock Transparency deselected to use this mode.

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Darken

Looks at the color information in each channel and selects the base or blend color—whichever is darker—as the result color. Pixels lighter than the blend color are replaced, and pixels darker than the blend color do not change.

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Multiply

Looks at the color information in each channel and multiplies the base color by the blend color. The result color is always a darker color. Multiplying any color with black produces black. Multiplying any color with white leaves the color unchanged. When you’re painting with a color other than black or white, successive strokes with a painting tool produce progressively darker colors. The effect is similar to drawing on the image with multiple marking pens.

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Color Burn

Looks at the color information in each channel and darkens the base color to reflect the blend color by increasing the contrast between the two. Blending with white produces no change.

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Linear Burn

Looks at the color information in each channel and darkens the base color to reflect the blend color by decreasing the brightness. Blending with white produces no change.

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Lighten

Looks at the color information in each channel and selects the base or blend color—whichever is lighter—as the result color. Pixels darker than the blend color are replaced, and pixels lighter than the blend color do not change.

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Screen

Looks at each channel’s color information and multiplies the inverse of the blend and base colors. The result color is always a lighter color. Screening with black leaves the color unchanged. Screening with white produces white. The effect is similar to projecting multiple photographic slides on top of each other.

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Color Dodge

Looks at the color information in each channel and brightens the base color to reflect the blend color by decreasing contrast between the two. Blending with black produces no change.

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Linear Dodge (Add)

Looks at the color information in each channel and brightens the base color to reflect the blend color by increasing the brightness. Blending with black produces no change.

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Overlay

Multiplies or screens the colors, depending on the base color. Patterns or colors overlay the existing pixels while preserving the highlights and shadows of the base color. The base color is not replaced, but mixed with the blend color to reflect the lightness or darkness of the original color.

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Soft Light

Darkens or lightens the colors, depending on the blend color. The effect is similar to shining a diffused spotlight on the image. If the blend color (light source) is lighter than 50% gray, the image is lightened as if it were dodged. If the blend color is darker than 50% gray, the image is darkened as if it were burned in. Painting with pure black or white produces a distinctly darker or lighter area, but does not result in pure black or white.

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Hard Light

Multiplies or screens the colors, depending on the blend color. The effect is similar to shining a harsh spotlight on the image. If the blend color (light source) is lighter than 50% gray, the image is lightened, as if it were screened. This is useful for adding highlights to an image. If the blend color is darker than 50% gray, the image is darkened, as if it were multiplied. This is useful for adding shadows to an image. Painting with pure black or white results in pure black or white.

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Vivid Light

Burns or dodges the colors by increasing or decreasing the contrast, depending on the blend color. If the blend color (light source) is lighter than 50% gray, the image is lightened by decreasing the contrast. If the blend color is darker than 50% gray, the image is darkened by increasing the contrast.

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Linear Light

Burns or dodges the colors by decreasing or increasing the brightness, depending on the blend color. If the blend color (light source) is lighter than 50% gray, the image is lightened by increasing the brightness. If the blend color is darker than 50% gray, the image is darkened by decreasing the brightness.

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Pin Light

Replaces the colors, depending on the blend color. If the blend color (light source) is lighter than 50% gray, pixels darker than the blend color are replaced, and pixels lighter than the blend color do not change. If the blend color is darker than 50% gray, pixels lighter than the blend color are replaced, and pixels darker than the blend color do not change. This is useful for adding special effects to an image.

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Hard Mix

Adds the red, green and blue channel values of the blend color to the RGB values of the base color. If the resulting sum for a channel is 255 or greater, it receives a value of 255; if less than 255, a value of 0. Therefore, all blended pixels have red, green, and blue channel values of either 0 or 255. This changes all pixels to primary additive colors (red, green, or blue), white, or black.

---Note:

For CMYK images, Hard Mix changes all pixels to the primary subtractive colors (cyan, yellow, or magenta), white, or black. The maximum color value is 100.

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Difference

Looks at the color information in each channel and subtracts either the blend color from the base color or the base color from the blend color, depending on which has the greater brightness value. Blending with white inverts the base color values; blending with black produces no change.

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Exclusion

Creates an effect similar to but lower in contrast than the Difference mode. Blending with white inverts the base color values. Blending with black produces no change.

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Subtract

Looks at the color information in each channel and subtracts the blend color from the base color. In 8- and 16-bit images, any resulting negative values are clipped to zero.

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Divide

Looks at the color information in each channel and divides the blend color from the base color.

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Hue

Creates a result color with the luminance and saturation of the base color and the hue of the blend color.

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Saturation

Creates a result color with the luminance and hue of the base color and the saturation of the blend color. Painting with this mode in an area with no (0) saturation (gray) causes no change.

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Color

Creates a result color with the luminance of the base color and the hue and saturation of the blend color. This preserves the gray levels in the image and is useful for coloring monochrome images and for tinting color images.

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Luminosity

Creates a result color with the hue and saturation of the base color and the luminance of the blend color. This mode creates the inverse effect of Color mode.

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Lighter Color

Compares the total of all channel values for the blend and base color and displays the higher value color. Lighter Color does not produce a third color, which can result from the Lighten blend, because it chooses the highest channel values from both the base and blend color to create the result color.

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Darker Color

Compares the total of all channel values for the blend and base color and displays the lower value color. Darker Color does not produce a third color, which can result from the Darken blend, because it chooses the lowest channel values from both the base and the blend color to create the result color.

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正常

编辑或绘制每个像素，使其成为结果色。这是默认模式。（在处理位图图像或索引颜色图像时，“正常”模式也称为阈值。）

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溶解

编辑或绘制每个像素，使其成为结果色。但是，根据任何像素位置的不透明度，结果色由基色或混合色的像素随机替换。

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背后

仅在图层的透明部分编辑或绘画。此模式仅在取消选择了“锁定透明区域”的图层中使用，类似于在透明纸的透明区域背面绘画。

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清除

编辑或绘制每个像素，使其透明。此模式可用于形状工具（当选定填充区域 时）、油漆桶工具 、画笔工具 、铅笔工具 、“填充”命令和“描边”命令。您必须位于取消选择了“锁定透明区域”的图层中才能使用此模式。

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变暗

查看每个通道中的颜色信息，并选择基色或混合色中较暗的颜色作为结果色。将替换比混合色亮的像素，而比混合色暗的像素保持不变。

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正片叠底

查看每个通道中的颜色信息，并将基色与混合色进行正片叠底。结果色总是较暗的颜色。任何颜色与黑色正片叠底产生黑色。任何颜色与白色正片叠底保持不变。当您用黑色或白色以外的颜色绘画时，绘画工具绘制的连续描边产生逐渐变暗的颜色。这与使用多个标记笔在图像上绘图的效果相似。

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颜色加深

查看每个通道中的颜色信息，并通过增加二者之间的对比度使基色变暗以反映出混合色。与白色混合后不产生变化。

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线性加深

查看每个通道中的颜色信息，并通过减小亮度使基色变暗以反映混合色。与白色混合后不产生变化。

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变亮

查看每个通道中的颜色信息，并选择基色或混合色中较亮的颜色作为结果色。比混合色暗的像素被替换，比混合色亮的像素保持不变。

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滤色

查看每个通道的颜色信息，并将混合色的互补色与基色进行正片叠底。结果色总是较亮的颜色。用黑色过滤时颜色保持不变。用白色过滤将产生白色。此效果类似于多个摄影幻灯片在彼此之上投影。

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颜色减淡

查看每个通道中的颜色信息，并通过减小二者之间的对比度使基色变亮以反映出混合色。与黑色混合则不发生变化。

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线性减淡（添加）

查看每个通道中的颜色信息，并通过增加亮度使基色变亮以反映混合色。与黑色混合则不发生变化。

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叠加

对颜色进行正片叠底或过滤，具体取决于基色。图案或颜色在现有像素上叠加，同时保留基色的明暗对比。不替换基色，但基色与混合色相混以反映原色的亮度或暗度。

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柔光

使颜色变暗或变亮，具体取决于混合色。此效果与发散的聚光灯照在图像上相似。如果混合色（光源）比 50% 灰色亮，则图像变亮，就像被减淡了一样。如果混合色（光源）比 50% 灰色暗，则图像变暗，就像被加深了一样。使用纯黑色或纯白色上色，可以产生明显变暗或变亮的区域，但不能生成纯黑色或纯白色。

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强光

对颜色进行正片叠底或过滤，具体取决于混合色。此效果与耀眼的聚光灯照在图像上相似。如果混合色（光源）比 50% 灰色亮，则图像变亮，就像过滤后的效果。这对于向图像添加高光非常有用。如果混合色（光源）比 50% 灰色暗，则图像变暗，就像正片叠底后的效果。这对于向图像添加阴影非常有用。用纯黑色或纯白色上色会产生纯黑色或纯白色。

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亮光

通过增加或减小对比度来加深或减淡颜色，具体取决于混合色。如果混合色（光源）比 50% 灰色亮，则通过减小对比度使图像变亮。如果混合色比 50% 灰色暗，则通过增加对比度使图像变暗。

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线性光

通过减小或增加亮度来加深或减淡颜色，具体取决于混合色。如果混合色（光源）比 50% 灰色亮，则通过增加亮度使图像变亮。如果混合色比 50% 灰色暗，则通过减小亮度使图像变暗。

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点光

根据混合色替换颜色。如果混合色（光源）比 50% 灰色亮，则替换比混合色暗的像素，而不改变比混合色亮的像素。如果混合色比 50% 灰色暗，则替换比混合色亮的像素，而比混合色暗的像素保持不变。这对于向图像添加特殊效果非常有用。

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实色混合

将混合颜色的红色、绿色和蓝色通道值添加到基色的 RGB 值。如果通道的结果总和大于或等于 255，则值为 255；如果小于 255，则值为 0。因此，所有混合像素的红色、绿色和蓝色通道值要么是 0，要么是 255。此模式会将所有像素更改为主要的加色（红色、绿色或蓝色）、白色或黑色。

---注意:

对于 CMYK 图像，“实色混合”会将所有像素更改为主要的减色（青色、黄色或洋红色）、白色或黑色。最大颜色值为 100。

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差值

查看每个通道中的颜色信息，并从基色中减去混合色，或从混合色中减去基色，具体取决于哪一个颜色的亮度值更大。与白色混合将反转基色值；与黑色混合则不产生变化。

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排除

创建一种与“差值”模式相似但对比度更低的效果。与白色混合将反转基色值。与黑色混合则不发生变化。

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减去

查看每个通道中的颜色信息，并从基色中减去混合色。在 8 位和 16 位图像中，任何生成的负片值都会剪切为零。

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划分

查看每个通道中的颜色信息，并从基色中划分混合色。

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色相

用基色的明亮度和饱和度以及混合色的色相创建结果色。

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饱和度

用基色的明亮度和色相以及混合色的饱和度创建结果色。在无 (0) 饱和度（灰度）区域上用此模式绘画不会产生任何变化。

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颜色

用基色的明亮度以及混合色的色相和饱和度创建结果色。这样可以保留图像中的灰阶，并且对于给单色图像上色和给彩色图像着色都会非常有用。

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明度

用基色的色相和饱和度以及混合色的明亮度创建结果色。此模式创建与“颜色”模式相反的效果。

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浅色

比较混合色和基色的所有通道值的总和并显示值较大的颜色。“浅色”不会生成第三种颜色（可以通过“变亮”混合获得），因为它将从基色和混合色中选取最大的通道值来创建结果色。

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深色

比较混合色和基色的所有通道值的总和并显示值较小的颜色。“深色”不会生成第三种颜色（可以通过“变暗”混合获得），因为它将从基色和混合色中选取最小的通道值来创建结果色。

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