我超级喜欢大卫威斯纳，下面是我搜集的２０１０新绘本《ＡＲＴ& ＭＡＸ》的创作过程,由于是英文资料，可能翻译的还不是很好。
附件占位：#45951
Art & Max began with the idea of a character shedding layers of himself, with each layer rendered in a different media. The question was—what is the story that could contain this transformation?
Art & Max，起始于一种人物角色颜料分层脱落的表现方法，运用不同的层和媒介来渲染，
问题在于什么故事能表达出这种转变？
First I had to see what shedding layers would actually look like. I used this bear-like creature as a stand-in until I got around to developing the character. The figure starts with an opaque paint, in this case, tempera.
第一步我必须确认脱落的颜料层到底看起来如何？我用这个像熊一样的生物作为代替物来创造人物，
绘画这个人物角色从使用一种不透明颜料开始，在这里我选用了蛋彩。
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The paint cracks and flakes off, revealing the character now rendered in soft, powdery pastel.
颜料裂开并剥落，露出底部轻柔的色粉渲染效果。
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Wind then blows the pastel off, and underneath, the character is painted with watercolor.
接下来用风将色粉吹去，底下露出的是用水彩绘制的人物角色。
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The watercolor gets washed off and the figure is now just a line drawing.
将水彩洗去，现在线描的人物角色显露在眼前。
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To uncover the story of this character, I had to define who he was (He seemed like a "he" to me). I stayed with the "bear" model.
为了发掘这个角色的故事性，我必须定义出他谁（对我来说他看起来更像“他”），我还是从“熊”模型入手。
More "bears."
更多的熊。
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The bear was coming along, but I felt he needed a friend. I liked the idea of a "big guy" and a "little guy."
熊看来很孤独，我觉得他需要个朋友，我喜欢这种“大家伙”和“小家伙”组合。
附件占位：#45975
Next I put the characters into a 32 page thumbnail layout. This is how I write – I take the ideas that I have, even if incomplete, and explore them within the context of the whole book. Connections are made and narrative ideas develop.
下一步我把人物角色放在32幅的缩略图版面上。我是这样编写的，我先把我即使不成熟的想法写出来，并且在整本书中去发掘它，并且通过旁白和连接性来发展它。 附件占位：#45976
附件占位：#45976
It was becoming clear that this was a two-character story in a fairly simple setting. I wanted to see things larger, so I drew up a full size 32-page dummy.
渐渐的清晰了，这是一个剧情设定相当简单的两人物故事，我希望看到一些大效果，所以我画了一个全幅的32页的绘本。
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Another page from the dummy.
绘本的另一页。 附件占位：#45977
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And another. I kept coming back to the question, what is instigating the cracking of the outer layer?
另一页。我不断回来这个问题上来，即用什么来使外层颜料裂开？
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I made another set of thumbnails with weather – hail, wind, rain – as the triggering factor.
我做了一个关于天气设定的缩略图，冰雹、风、雨，起到控制因素。
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I really liked the umbrellas.
我十分喜欢雨伞。
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The characters were still too undefined. They didn't have personalities. I revisited the bears, but I just didn't find them that interesting. If I am going to spend a couple of years drawing something, it has to be fun and visually interesting.
人物角色仍然未被完全定义。他们没有人物性格，虽然我坚持赋予它熊的性格，但是我还没发现他们的有趣之处。如果我继续花费几年的时间去绘画，一定会得到一些趣味和视觉兴趣点。
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Lizards are fun and interesting. The big guy is a Horned Lizard. The little guy began as a chameleon, but became …
蜥蜴是饶有趣味的，这个大家伙是一只有角蜥蜴，小家伙则开始是一个变色龙，后来则。。。
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A Collared Lizard. (You can't have a chameleon and not have it change color. Just can't. I didn't want the color change, so no chameleon.)
一只有领蜥蜴。（你不能有一只变色龙却不让它变色，绝对不行，我不想改变颜色，所以决定不要变色龙了 ）
And most importantly – Aha! – they are artists! And the paint itself sets the metamorphosis in motion.
并且最重要的是，啊，它们是艺术家！--------翻译不出来------------
附件占位：#45984
Developing an animal character includes looking at the real animal as well as photographic reference. I also always make models of my characters. This way I can view them from every possible angle.
按照真实动物的参考照片设计出一个动物形象，我也经常制作我的人物形象的模型，通过这种方法我能从多个可能的视角去观察它们。
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I draw from the full figure model and begin to extrapolate the real lizard into a specific personality – in this case, Arthur.
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我按照真实比例模型进行绘画，并且开始推算真实蜥蜴的情况从而设定出一种特定的人格，就是—亚瑟。
I also make a larger model of the head. Facial expressions transmit the emotion of the story. As I draw, I can literally get face-to-face with each character. I then do sample paintings to work out color and texture.
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我也做了一个大些的头部模型，脸部的表情传达着故事中的感情。通过我的绘画，我能和人物形象面对面交流，然后画出样本来推敲颜色和肌理。
The head model for Max and sample paintings.
马克斯的头部模型和绘画样本。
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Now that I see Arthur and Max as real personalities, I can tell their story in a new dummy.
既然我确定亚瑟和马克思具有类似的人物性格，我就能将它们放在同一个新的绘本中。
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The dummy drawings are loose, as I am concentrating on the story.
绘本的绘制是宽松的，因为我把重点集中在故事中。
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After the story is worked out, I make finished, detailed drawings of each page. The setting, the props and the characters are now fully realized.
当故事已经出炉，我就把每一页的绘画细节完成。场景设定、道具和人物性格现在都完全具体化了。
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I may do several versions of these drawings to find the expressions and body language that best conveys the emotion and humor of the scene.
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At long last, I finally paint the pictures as they will appear in the book. For Art & Max, the skies are all done with watercolor. Everything else is painted with acrylics, except when Arthur transforms into pastel, watercolor and line.
最后，我终于把绘画绘制成在绘本书上出现的面貌。在Art & Max中，天空都使用水彩绘制
其余都是使用丙烯，除了亚瑟是用色粉、水彩和线描绘制的。
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这下面的是单独第13页的完整绘画流程，但由于我今天传图的上限满了，所以下次传。请大家耐心等待啊。。。。
This is page 13 in the rough dummy of Art & Max. It shows Arthur covered in paint, getting so angry that the paint begins to crack.
这是《Art & Max》粗稿绘本的第13页。它显示了亚瑟被颜料覆盖变得生气并且开始开裂的场景。
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After designing the characters, I create a very detailed drawing for each page. (See David's Studio section)
在设计人物角色之后，我开始为每一页创作一些非常细节化的绘画。
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Here you see the finished drawing for page 13. This drawing is transferred to watercolor paper and painting begins.
在这里你能看到完成的第13页，这部分开始转化为水彩绘制。
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The skies in Art & Max are all done in watercolor and must be completed before I move on to working with acrylic paints.
《Art & Max》中的天空完全是在使用丙烯颜料之前使用水彩绘制完成。
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A thick coat of 'crackle medium' is applied to Arthur's body. When this paste dries, it cracks – larger cracks where the paste is thickest. At the center of Art's body the paste is about a quarter of an inch thick.
把一层厚的“开裂介质”涂层涂在亚瑟的身体上，当这层颜料干时就会形成开裂，图层越厚开裂就越大，在它的身体中间颜料达到四分之一英寸厚。
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I then begin to paint Arthur in acrylic, working over the dried crackle medium.
我开始在开裂的干介质上，用丙烯绘制亚瑟，
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Continuing to paint Arthur.
继续绘制亚瑟。
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I then move on to the other characters and the landscape.
然后我将工作转移到其他人物角色和场景。
This is the finished painting for page 13.
这是第13页的完成绘画。
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The text on this page is Arthur shouting, "MAAAAAX!" The letters are large and cracked and run behind Arthur. This is a pencil sketch to get the size and spacing of the letters positioned so they read well.
在这页上亚瑟喊道“MAAAAAX”，字母是很大并开裂地呈现在亚瑟背后，这是用铅笔书写在固定位置以便能清楚的辨认。附件占位：#46026
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I worked on an acetate overlay, drawing the letters with ink. With a knife, I scraped off ink to create the cracks.
我在一层醋酸纤维纸上，用墨水进行绘画，用刀在墨水上划出裂痕来。
Here is page 13 as it appears in the finished book, bringing together my artwork with the type, which is now printed in the correct color.
附件占位：#46027