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Artist

  • ? tyson tan 308

Copyrights

  • ? kde 53
  • ? krita (software) 46

Character

  • ? kiki the cyber squirrel 34

General

  • ? 2024 6.4k
  • ? breasts 4.4M
  • ? dress 1.7M
  • ? eraser 3.8k
  • ? flower-shaped pupils 10k
  • ? furry 114k
  • ? furry female 54k
  • ? grey background 339k
  • ? holding 1.9M
  • ? holding stylus 2.8k
  • ? joints 24k
  • ? looking at viewer 4.3M
  • ? mascot 3.0k
  • ? mecha 50k
  • ? medium breasts 1.1M
  • ? open mouth 3.0M
  • ? paint 4.8k
  • ? paintbrush 16k
  • ? pen 26k
  • ? puffy sleeves 460k
  • ? robot 82k
  • ? robot joints 11k
  • ? short hair 2.8M
  • ? simple background 2.4M
  • ? smile 3.7M
  • ? squirrel 3.7k
  • ? stylus 5.7k
  • ? symbol-shaped pupils 216k
  • ? upper body 1.0M
  • ? white dress 379k
  • ? white fur 29k
  • ? white hair 917k

Meta

  • ? highres 7.0M
  • ? ↳ absurdres 2.5M
  • ? krita (medium) 689

Information

  • ID: 10772928
  • Uploader: icyspider »
  • Date: 1 day ago
  • Approver: Hollow Mellow »
  • Size: 2.07 MB .png (3840x2160) »
  • Source: tai3.cn/gallery/gallery-mascots/kiki-2024/ »
  • Rating: General
  • Score: 1
  • Favorites: 1
  • Status: Active

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This post belongs to a parent and has 1 sibling (learn more) « hide
post #10772759
post #10772901
post #10772928
Resized to 22% of original (view original)
kiki the cyber squirrel (kde and 1 more) drawn by tyson_tan

Artist's commentary

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  • 电子松鼠琪琪的无计划扩展 (启动图构图)

    电子松鼠琪琪的无计划扩展 (启动图构图)

    本图是我为 Krita 绘制的启动图之一,被用在从 5.2.3 到 5.2.15 版的软件中。

    构图的无序扩展和赶工

    大家可能注意到我给这张图取了一个叫做“无计划扩展”的怪名,还有这张图虽然被用作启动图一年多,却一直没有在 Krita 官网和我这里发出来过原图。这后面其实是有点小故事的。

    你或许会觉得奇怪——为了那么一小块的启动图,有必要画这么多吗?其实,这张图最初并不是作为 Krita 的启动图,而是为 Krita 25 周年的 Steam 促销准备的素材。最初要求的是宽高比为 2.15 的图 (4750 x 2160 的那个框),然而可能是因为我们都没有太多关于 Steam 的经验,图都快画完了,我才被告知 Steam 还要提交一大堆特殊比例的图片素材,其中一部分如上图中那些彩色参考框所示,后面还进一步加进来一些更加离谱的构图比例,我都没有在这里框出来。

    为了满足这些比例,我只得一次又一次地扩展这张图的画面。原本只画了半身的人物人物硬是扩展成了全身;原本因为想偷懒,完全手绘“差不多就得了”的,且只画出了 1/4 的圆形弹出面板,最终也不得不用更加麻烦但精确的形状工具重新绘制了完整版。

    其中最大的问题是,原始构图的镜头设计是微微仰视的,而且为了增强画面表现力,还选择了能把执笔手夸张放大的超广角镜头。而现在全身都要被画出来,作为权宜之计就不得不画成以躯干为中心的伪鱼眼透视了。试问哪个正常人画鱼眼透视的时候会把躯干当成透视中心的?身体显胖,头小脚短,所以全身图就显得哪哪儿都不对劲。

    加上 Steam 促销的机会是突然拿到的,留给我画的时间原本就不多,又加上疫情后单位工作量比较繁重,我的创作能力在当时又尚未完全恢复,我在绘制这张图的时候没有余力去讲究主题、构图什么的,仅仅是拼命赶工勉强把图给画出来了而已。这张图在人体、设计、细化、清理等各方面都做得比较仓促,我个人是不太满意的。

    造型设计

    这一版琪琪的设计主要是基于上一版启动图修改而来。我原本打算将上图的设计简化并去掉难画的半透明彩色反光材质,然后加画三视图做成新的参考设计图。但因为对设计不够满意,也一直找不到时间画,最终没有成事。

    用作启动图和没有上传网站

    可能是因为上一版的启动图已经用了好几年了,Krita 方面就直接把这张图拿来当作新版软件的启动图,并加上了 25 周年纪念的字样。好的一面是作为启动图可以使用最初版本的构图,不必暴露不协调的下半身,而且画面配色抢眼,缩小后看起来并不差。坏的一面则是因为启动图叠加字样位置的限制,画面被水平翻转了,而脸蛋有点画崩的问题在翻转后似乎更明显了。

    当时 Krita 官方网站已经从 WordPress 换成了 Hugo。我不熟悉这个新平台,没法像以前一样直接编辑吉祥物页面,当时工作忙碌也没精力去学习。又因为这张图的主题没有什么值得说道的地方,画得又不满意,我就打算把基于这个设计的三视图画完后才一起发出来。

    于是这件事就这样拖着,一直拖到下一版的启动图都画完了,我觉得实在不应该再拖下去了,才硬着头皮进行了一些必要的清理 (主要是人物有很多透明的洞洞没填满,真的太赶了) 后发布出来了。

    经验教训

    这张图的绘制过程充分暴露了落笔前如果没有做好规划,只是随着性子画到哪儿是哪儿,那么结果往往不会太好。然而这就是我长久以来的创作方式——随便在画面的任意位置上画个圆开始,依赖数码绘画的便利,随心所欲地更改动作和构图。这么做虽然方便,但我愈发觉得这样对于绘画技能的成长 (甚至保持) 有不利影响。我一直觉得自己动作和构图能力差,说不定就和这个习惯有关。

    尤其是我在画了不少铅笔稿之后 (2026 年初) 回顾这张图的创作过程 (2024 年中),更加体会到了事前计划、仔细观察、脑内建模、谨慎落笔对于创作训练的好处。这图发出来也算是给自己总结了一下经验教训。

    Kiki’s Unplanned Canvas Expansion (Splash Crop)

    Kiki’s Unplanned Canvas Expansion (Splash Crop)

    This is the splash art I created for Krita, It was used from version 5.2.3 to 5.2.15.

    The Unplanned Canvas Expansion and Rushing

    You might have noticed that I gave this picture a strange title of “Unplanned Canvas Expansion”. And during the 1.5 years span of being Krita’s splash, it was never released on Krita’s or my website. There are reasons, of course.

    The splash used only a small portion of the full image — so what’s point of drawing the rest? In fact, this wasn’t intended to be Krita’s next splash art, but rather as promotional material for its 25th anniversary Steam Sale. The original request specified a 2.15:1 ratio (4750×2160). However, perhaps dues to inexperience, I was told near completion that Steam required a bunch of images with unusual ratios — some shown above, and more added later.

    To work with those ratios, I had to expand the composition over and over again: the upper-body-only character became full-body; the initially hand-painted 1/4 disk was redrawn using shape tools as a full circle.

    The biggest problem is that the original composition’s camera angle was slightly upward-looking, and to enhance the visual impact, an ultra-wide angle lens was chosen to exaggerate the hand holding the stylus. Now that the entire figure needs to be depicted, as a makeshift solution, it has to be drawn in a pseudo-fisheye perspective centered on the torso. No one in their right mind would use the torso as the center of a fisheye perspective — the body would appear plump, the head small, and the feet shortened — the full-body image just looks somewhat off.

    And since the Steam Sale opportunity came unexpectedly, I had very little time to draw it. Moreover, after the pandemic, the workload at my workplace was quite heavy, and my creative ability had not yet fully returned at the time, either. I did my best to just rush it out. The anatomy, design, details, and cleanup are all quite rough, and I’m not fully satisfied with the result.

    Design

    I originally planned to simplify Kiki’s design from the previous splash by removing the hard-to-render semi-transparent, reflective material and add three-view references. But I wasn’t satisfied with the result and never found time to complete them.

    Used as Krita’s Splash but not Released

    Perhaps because the previous splash art had been in use for years, the Krita team decided to replace it with this picture, adding “25 years of Krita” on top. On one hand, the splash uses the initial composition without exposing the somewhat wonky lower body, and the eye-catching color scheme works well in small size. On the other hand, due to the typography of the splash screen, the image was flipped horizontally, and the somewhat wonky face seems more obvious after the flip.

    At that time, the official Krita website had switched from WordPress to Hugo. I wasn’t familiar with Hugo and couldn’t edit the mascot page directly as before. Being too busy at work, I had no energy left to learn it, either. There wasn’t much to talk about anyway — the picture has no theme. I decided I should release the picture with the three-view reference I mentioned before.

    So this dragged on until the next splash’s completion. Feeling it couldn’t wait any longer, I did some quick cleanup — mainly filling transparent holes in the characters — and released it.

    What I have learned

    The draw process of this picture starkly revealed that without planning, merely “following the flow” leads nowhere. Ironically, this had been my way of creating for a long time – starting by randomly placing a circle anywhere on the canvas and relying on the app to modify poses and compositions afterward. I increasingly feel that it hinders not just my growth, but even the maintenance of my drawing skills. My weak posing and composition abilities might have something to do with this habit.

    Especially after drawing many pencil artworks (early 2026) and reviewing this piece’s creation process (mid-2024), I value planning, observation, imagination, and careful execution more than ever — it was a valuable lesson.

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