为影视作品设计妆容概念是新西兰Wētā工作室概念艺术家的一项重要技能，该工作室以数十年的开创性工作而闻名。资深概念设计师Johnny Fraser-Allen将在这个四小时的研讨会上分享他高效设计角色和生物妆容的Photoshop技巧，并为各个阶段的艺术家提供实用技巧。
这个内容详尽的研讨会将教您如何交付并最终确定电影行业的认可设计。研讨会面向制作的早期阶段，所涵盖的Photoshop技巧不仅能帮助您快速向导演传达创意，还能帮助您快速处理修改设计所需的变更，从而根据同一项目要求将其修改为其他方案。
Johnny首先进行快速热身，讲解了构建原创生物妆容设计所需的步骤，然后开始为同一位演员设计三个食人魔领主的概念妆容。他正是通过同样的流程，为史蒂文·斯皮尔伯格的《圆梦巨人》、彼得·杰克逊的矮人以及吉姆·汉森公司的妖精设计并修改了导演笔记。
第一章：怪物特效妆容设计入门：Johnny 分享了他对为大片设计角色和妆容概念的职业感想，并深入剖析了他为《便携式门》设计的众多妆容概念背后的构思过程。
第二章：用一个妖精妆容概念快速热身：Johnny 和《便携式门》的导演 Jeffery Walker 一起，在快速热身环节中回顾了他为 Sam Neil 等人设计妖精妆容的过程。
第三章：草图绘制：Johnny 展示了快速草图（只有艺术家本人才能看到）如何帮助加快设计流程，并提供一些有用的起点，最终设计出令人惊喜的“意外之喜”。
第四章：概念艺术：Johnny 创作了自己对“食人魔之王”的简介，他详细讲解了拍摄制片方选定演员的每个步骤，并设计了三个原创妆容概念，将演员打造成拍摄所需的怪物形象。本教程注重实用性，并保留演员的内在特质。教程将展示如何利用演员的体型和现有纹理，并结合其他摄影元素，仅使用 Photoshop 即可打造出逼真、具有电影质感的概念设计。本教程将作为与电影导演沟通的初步讨论点，推动项目顺利进行。
Designing makeup concepts for film and television is an important skill set for concept artists at the Wētā Workshop in New Zealand, known for decades of groundbreaking work. Join Senior Concept Designer Johnny Fraser-Allen as he shares his Photoshop techniques to effectively design character and creature makeups in this four hour workshop, with tips aimed at artists of all levels.
This detailed workshop will teach you how to deliver and lock down approved designs for the film industry. Aimed at the early stages of a production, the Photoshop-based techniques covered will allow for quick ideas to be delivered to the director as well as tackling quick changes needed to rework designs into alternate options for the same brief.
Starting with a quick warm up, Johnny goes through the steps required to build an original creature makeup design, before starting on three Ogre Lord concepts over the same actor. This same process is how he designed and reworked director notes for the BFG for Steven Spielberg, dwarves for Peter Jackson, and goblins for the Jim Henson Company.
Chapter 1: Introduction to Creature Feature Makeup Design: Johnny shares his thoughts on a career in designing characters and makeup concepts for blockbuster films and gives insight into the thought process behind the many makeup concepts he designed for The Portable Door.
Chapter 2: Warm-up with a Quick Goblin Makeup Concept: Using Jeffery Walker, the Director for The Portable Door, Johnny revisits how he designed Goblin makeup for Sam Neil and others in a quick warm-up session.
Chapter 3: Sketching: Johnny shows how a quick sketch — that no one will ever see but the artist — can help speed up the design process and inform some helpful starting points that will lead to the happy accidents found in the final design.
Chapter 4: The Concept Art: Creating his own brief of “Ogre King,” Johnny goes through every step he uses to take a photo of the production’s chosen actor and work up three original makeup concepts to turn him into the creature required for filming. With an emphasis on practicality and retaining the qualities of the performer beneath, this tutorial shows how to use the shapes and existing textures of the actor as well as incorporating other photographic elements to help shape a realistic, filmic-looking concept design using only Photoshop. This then serves as the initial discussion point used to get the ball rolling for the director of the film.
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