舰船模型海水效果制作（翻译贴）

作者：Omani
Realistic sea bases

Replicating elements of nature in miniature is one of the more tricky aspects of modelling, requiring not only the "engineering" knowledge of a subject but also a bit of artistic sense.
For ship model builders such as myself, water base can really make or break a good model. In this article I would like to show you how to produce a realistic sea base for ship model, with rough water surface, surf and wake. I have perfected these techniques during my own project of modelling the IJN Task Force, Carrier Division 1. The Task Force consists of  the aircraft carriers Kaga and Akagi steaming side-by-side on a single base.
Before we begin, let's consider the qualities of our subject.
Despite of what we all know about water, deep water basins seldom look transparent, especially when seen from a distance. Rather than that, water has colour and forms a glossy, highly reflective surface. These qualities of water are especially appropriate to replicate in scale, particularly when dealing with ship models in smaller scales such as 1/700.
Having performed this most basic analysis, let's move to a step-by-step description of how to produce a convincing sea base.
Step 1: Basics
First you will need to establish the composition and layout of your base. Most of the times this is simple: place the model on the sheet of paper of the same size as the intended base, and outline its hull along the waterline. If you have any other elements such as peers, shoreline etc, trace them on paper, too.


在微缩景观中重现自然元素是模型制作中最为棘手的问题之一，这不仅需要了解这些自然元素的性质，还需要一点对艺术的敏感。
对于像我一样的舰船爱好者而言，海面基底可以正真的成就一个模型，也可以毁掉一个模型。在这篇文章中我将向你们介绍如何去制作带有海浪和水花的、波光粼粼的海面基底用于舰船模型场景。我已经在制作自己的项目时完善了这些技术。这个场景中包括“加贺”和“赤诚”两艘蒸汽航母。
在开始之前，首先让我们了解一下海水的性质。
尽管我们都了解水，但是实际上深海的海水看起来很少像是透明的，尤其是从很远看去。除此之外，海面还具有光滑的、高反光的特点。这些特点很适合大规模的呈现海面，尤其是在我们制作1：700的模型的时候。
再了解这些基础的特性之后，让我来一步一步的解释应该如何制作一个具有真实感的海面。

第一步：基底制作

首先你要在基底上描绘你的布局，这很简单：将模型放在与基底尺寸一样的纸上，沿水线画出轮廓。如果你设计的场景中还有其他元素，例如随行的船舶、海岸线等，也将他们画在纸上。



Now comes the fun part: making the sea surface. A piece of kitchen aluminium foil is wrinkled thoroughly, and then stretched on a flat surface. Then, a wooden frame the size of the base is placed on top of it. The frame and the foil together form a mould for the sea surface.


下面就是见证奇迹的时刻：制作海面。首先将一张锡箔纸玩命的团起来（弄成褶皱），再展成平面。然后将与基底同尺寸的木质边框放在锡箔纸上面。锡箔纸和边框共同组成了制作海面的模具。



For moulding, I use fine-grade plaster of Paris. It is blended with water as per instructions and poured into the frame. As plaster is quite brittle, I usually reinforce the mould by adding a cotton gauze on top of the poured liquid. Adding an additional layer of plaster over it can help to blended the gauze invisibly into the moulding.
It takes about 30 minutes for the plaster to harden so that it can be removed from the frame.  However, it is necessary to wait additional 3 days before it is completely cured. Flipping the mould to its "right" side, you will see the effect that the wrinkled foil had on the surface. It will replicate the multitude of short irregular waves caused by wind blowing over sea surface.

浇注模具，我用颗粒较细的石膏。与水成比例混合后倒入模具中。由于石膏很脆，我通常在石膏液表面用棉布加强模具，之后再浇一层石膏用来覆盖棉布。30分钟后石膏硬化就可以撤掉模具。但是要等到石膏完全硬化还需要三天。将石膏板翻至正面朝上，你就会看到褶皱的锡箔纸造成的效果。它很像被海风吹过的短而无序的海浪。



第二步：水波制作

Now it is time to replicate the prominent waves caused by the ship's movement in the water: the bow wave, wave pattern along the hull and the wake. These waves can be sculpted from epoxy putty.
The highest white-crested wave will surround the bow, usually with overhang on its top part. To maintain strength, I first model the "body" part of the wave, adding the top 1/3rd only after it has hardened. The shape of the wave is first  formed with fingers, then the surface is sculpted using a spatula, see photos below.

现在到了制作由于舰船运动引起的水波：舰艏的蝶形波，船体两侧的行波以及水花。这些波纹可以用环氧腻子做。（不知道是不是用老田的A+B补土做，还请路过的大神明示）
最高速的白浪将会围绕在舰艏周围，通常会形成一个向外的翻折。为了保证强度，我首先塑造了海浪的“机体”，等他硬化之后再将顶部的1/3部分加上去。我首先用手指来塑形，然后用刮刀再对表面进行修饰，如下图：



The bow wave should be spreading into the fan shape towards the rear. The sides of the hull will also induce smaller waves along its length. It is helpful to draw the wave pattern on the plaster base with a pencil so that you ensure maintaining the uniform (but not symmetrical) look of the waves on both sides of the hull.
These waves can be modelled similarly to the bow wave, using the spatula to create crests and patches of foam. Be careful to work on a small area at a time - once the epoxy putty hardens, it becomes almost impossible to work with.


水波还会蔓延向后形成扇形波纹，船体水线附近也会产生一些小的波浪。用铅笔在石膏基底上描绘这些波浪，这样可以帮助你制作出均匀的波浪（但不是对称的），要小心船体两侧的波浪。
这些波浪可以用同样的方法来修形。但是你得抓紧时间，环氧腻子一旦硬化就不能再动了。



The following photo shows the completed waterline of Kaga, with in-progress waterline of Akagi in the background.  

下面的图片显示了“加贺”“赤诚”的完整水线波浪：



第三步：水花制作

The wake of the fast-going ship is different from other waves on our base in that it its area will be almost completely covered with white foam. Switching to the ordinary thinner-based modelling putty, I apply a generous  coat of it to the area behind the stern, and then mould the wake by poking it with toothpicks. Chances are that the surface structure obtained but this method is too rough, but it is easy to "soften" the effect by brushing thinner over it.

舰船高速行驶引起的水花和波浪是完全不同的，它将以白色泡沫状的形式覆盖整个区域。选择普通的薄基补土（可能就是一般的牙膏补土吧）。我在舰尾均匀的涂上一片，再用牙签去戳。这样可以很方便的塑造表面结构但是比较粗糙，再用毛刷进行软化就可以了。



To complete the waves, a coat of Gunze Mr. Surfacer 500 liquid putty is applied in selected areas to smooth out the edges between the epoxy putty and plaster.

继续细化海面，用郡士500液态补土去填充环氧腻子和石膏之间的边缘，使之光滑。



第四步：上色

First I coat the entire base with white primer. It allows me to discover any remaining joint marks, fingerprints and other blemishes. If found, these are treated with liquid putty. The completed base prior to painting looks like this:

我首先给整个基座上一层白色的底漆，这样更容易发现一些不平整的过渡，指纹或者其他瑕疵。一旦发现，就用液态补土去处理，完成后的效果如图：



Painting is a tricky problem. Replicating the softness of water in hard material is difficult, and it is all won or lost in the painting phase. Therefore I used to consider my options carefully and test all the steps before applying them "full-scale". For the first attempt, it may be a good idea to produce a scrap plaster base alongside your main project to practice your painting  techniques safely.
I use Loquitex acrylic soft type artists' colours. Loquitex acrylics are very suitable for the purpose because they retain a rich "moistened" look when dry. The colours I used for the Kaga/Akagi base were Titanium White,Phthalocyanine Blue and Emerald Green.

上色是一个非常棘手的问题，挑战是如和在一个坚硬的石膏便面表现一个柔软的海面，可以说成败在此一举。因此我在正式上色之前往往要做多次的尝试和探索。对于第一次尝试的模友来说可以先在废旧的石膏块上做练习来保证技术的安全。
我用Loquitex丙烯酸软式艺术家的色彩。Loquitex丙烯酸树脂之所以适合我们的海面，是因为它干的时候仍保留了丰富的“蘸”时的样子。我使用的颜色分别是钛白粉，酞菁蓝和翡翠绿。



Another principal decision was the choice of a brush rather than airbrush. Brush painting is able to produce colour depth which is simply unobtainable by airbrush application - a fact well known to figure builders.
For the base colour of the Carrier Division base I used a mixture ofPhthalocyanine Blue and Emerald Green. The colours were applied by brush and mixed directly on the surface of the base to create uneven rather than uniform colour.

上色的时候要用刷子而不是喷枪，因为刷子可以产生色差从而造成海水深度差的感觉（刷子笔触沾有不同的颜色），这一点喷枪做不到。在模型界这已经不是什么秘密了。
在底座上我将酞菁蓝，翡翠绿混合起来，用刷子去刷，并在基座的表面上产生不均匀的效果，而不是均匀的颜色直接混合。



After covering the entire base, I returned to selected spots with more contrasting tones to add depth. First I went through trough (lowest) spots with the darker tone of blue. Then the  wave crests were brushed with progressively brighter shades, creating gentle gradation of colour from dark to light. 
Loquitex acrylics dry to a matt finish, which is inappropriate for the glossy sea surface. Therefore the entire base was spray-painted with gloss clear varnish at this point.


Step 5. Finishing
At this point your sea should already look quite convincing . But bear with me, it can be made so much better by adding the final step - painting of the wave crests. It does just as much to enliven the sea surface as "weathering" does to models in general. 
The idea is to suggest patches of white foam at the wave crests, and this is best done with dry-brushing. You should start with a mixture of your base colour and white, and progressively add more white in the consecutive dry-brushing passes. I have used four different shades for my base shown here. The result after the 4th shade of blue is shown on the photo below (to the left).


整个区域上色完成之后，对一些区域进行分色处理。首先，用暗色调的蓝色斑点加深波谷。波峰刷上逐渐明亮的色调，尽量使颜色的变化柔和。
Loquitex丙烯酸树脂干燥后表面暗淡，这是和有光泽的海面还有差距。因此，整个表面用光泽清漆在这一点上喷漆。（应该用郡士的光油漆就OK了吧）

第五步：完工

至此，你的海面已将惟妙惟肖了。但是稍等，还能做的更好，我们进一步处理波峰，这将使海面看起来像风吹过的一样。
我们的想法是在波峰处画出一片片白色的泡沫，这是最好用“干扫”。你应该用你的基本色和白色的混合物，连续的在表面扫过，并逐步增加更多的白色。如下图，我已经使用了四种不同的色调。第四种蓝色阴影后的结果被显示在下面的照片（左侧）。



The last touch is the application  of pure Titanium White on the brim of each wave. You should take care to vary the quantity of white depending on the size of each wave - the largest ones with pronounced brims should get more foam than the smaller waves. The effect is shown on the right photograph.
The massive amounts of white foam in the wake area should be emphasized even more. My method is to coat the wake area with diluted white glue and then sprinkle on the white snow powder used for diorama models.
Another few coats of clear gloss varnish and the base is finished. The complete item is shown below, with pre-drilled holes for screws attaching the models. I hope that you will agree that the result is a quite realistic rendition of an open sea swept by keen wind!

最后一步是在浪花的边缘用纯白色进行干扫，你要根据每个波浪不同的大小来调整白色的用量。大浪会比小小浪造成更多的白色泡沫。效果如右下图：
在舰尾尾流处应该有大量的白色浪花，我的方法是在这个区域涂上白胶，再撒上白色的粉末。（用于一些场景模型中）
完成后涂上一层光油漆。完工后的样子如下图，我预钻一些螺丝孔来连接模型。我希望在你看来我的作品像是一个风浪席卷的海面！

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作者：Omani
Realistic sea bases

Replicating elements of nature in miniature is one of the more tricky aspects of modelling, requiring not only the "engineering" knowledge of a subject but also a bit of artistic sense.
For ship model builders such as myself, water base can really make or break a good model. In this article I would like to show you how to produce a realistic sea base for ship model, with rough water surface, surf and wake. I have perfected these techniques during my own project of modelling the IJN Task Force, Carrier Division 1. The Task Force consists of  the aircraft carriers Kaga and Akagi steaming side-by-side on a single base.
Before we begin, let's consider the qualities of our subject.
Despite of what we all know about water, deep water basins seldom look transparent, especially when seen from a distance. Rather than that, water has colour and forms a glossy, highly reflective surface. These qualities of water are especially appropriate to replicate in scale, particularly when dealing with ship models in smaller scales such as 1/700.
Having performed this most basic analysis, let's move to a step-by-step description of how to produce a convincing sea base.
Step 1: Basics
First you will need to establish the composition and layout of your base. Most of the times this is simple: place the model on the sheet of paper of the same size as the intended base, and outline its hull along the waterline. If you have any other elements such as peers, shoreline etc, trace them on paper, too.


在微缩景观中重现自然元素是模型制作中最为棘手的问题之一，这不仅需要了解这些自然元素的性质，还需要一点对艺术的敏感。
对于像我一样的舰船爱好者而言，海面基底可以正真的成就一个模型，也可以毁掉一个模型。在这篇文章中我将向你们介绍如何去制作带有海浪和水花的、波光粼粼的海面基底用于舰船模型场景。我已经在制作自己的项目时完善了这些技术。这个场景中包括“加贺”和“赤诚”两艘蒸汽航母。
在开始之前，首先让我们了解一下海水的性质。
尽管我们都了解水，但是实际上深海的海水看起来很少像是透明的，尤其是从很远看去。除此之外，海面还具有光滑的、高反光的特点。这些特点很适合大规模的呈现海面，尤其是在我们制作1：700的模型的时候。
再了解这些基础的特性之后，让我来一步一步的解释应该如何制作一个具有真实感的海面。

第一步：基底制作

首先你要在基底上描绘你的布局，这很简单：将模型放在与基底尺寸一样的纸上，沿水线画出轮廓。如果你设计的场景中还有其他元素，例如随行的船舶、海岸线等，也将他们画在纸上。

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Now comes the fun part: making the sea surface. A piece of kitchen aluminium foil is wrinkled thoroughly, and then stretched on a flat surface. Then, a wooden frame the size of the base is placed on top of it. The frame and the foil together form a mould for the sea surface.


下面就是见证奇迹的时刻：制作海面。首先将一张锡箔纸玩命的团起来（弄成褶皱），再展成平面。然后将与基底同尺寸的木质边框放在锡箔纸上面。锡箔纸和边框共同组成了制作海面的模具。

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For moulding, I use fine-grade plaster of Paris. It is blended with water as per instructions and poured into the frame. As plaster is quite brittle, I usually reinforce the mould by adding a cotton gauze on top of the poured liquid. Adding an additional layer of plaster over it can help to blended the gauze invisibly into the moulding.
It takes about 30 minutes for the plaster to harden so that it can be removed from the frame.  However, it is necessary to wait additional 3 days before it is completely cured. Flipping the mould to its "right" side, you will see the effect that the wrinkled foil had on the surface. It will replicate the multitude of short irregular waves caused by wind blowing over sea surface.

浇注模具，我用颗粒较细的石膏。与水成比例混合后倒入模具中。由于石膏很脆，我通常在石膏液表面用棉布加强模具，之后再浇一层石膏用来覆盖棉布。30分钟后石膏硬化就可以撤掉模具。但是要等到石膏完全硬化还需要三天。将石膏板翻至正面朝上，你就会看到褶皱的锡箔纸造成的效果。它很像被海风吹过的短而无序的海浪。

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第二步：水波制作

Now it is time to replicate the prominent waves caused by the ship's movement in the water: the bow wave, wave pattern along the hull and the wake. These waves can be sculpted from epoxy putty.
The highest white-crested wave will surround the bow, usually with overhang on its top part. To maintain strength, I first model the "body" part of the wave, adding the top 1/3rd only after it has hardened. The shape of the wave is first  formed with fingers, then the surface is sculpted using a spatula, see photos below.

现在到了制作由于舰船运动引起的水波：舰艏的蝶形波，船体两侧的行波以及水花。这些波纹可以用环氧腻子做。（不知道是不是用老田的A+B补土做，还请路过的大神明示）
最高速的白浪将会围绕在舰艏周围，通常会形成一个向外的翻折。为了保证强度，我首先塑造了海浪的“机体”，等他硬化之后再将顶部的1/3部分加上去。我首先用手指来塑形，然后用刮刀再对表面进行修饰，如下图：

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The bow wave should be spreading into the fan shape towards the rear. The sides of the hull will also induce smaller waves along its length. It is helpful to draw the wave pattern on the plaster base with a pencil so that you ensure maintaining the uniform (but not symmetrical) look of the waves on both sides of the hull.
These waves can be modelled similarly to the bow wave, using the spatula to create crests and patches of foam. Be careful to work on a small area at a time - once the epoxy putty hardens, it becomes almost impossible to work with.


水波还会蔓延向后形成扇形波纹，船体水线附近也会产生一些小的波浪。用铅笔在石膏基底上描绘这些波浪，这样可以帮助你制作出均匀的波浪（但不是对称的），要小心船体两侧的波浪。
这些波浪可以用同样的方法来修形。但是你得抓紧时间，环氧腻子一旦硬化就不能再动了。

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The following photo shows the completed waterline of Kaga, with in-progress waterline of Akagi in the background.  

下面的图片显示了“加贺”“赤诚”的完整水线波浪：

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第三步：水花制作

The wake of the fast-going ship is different from other waves on our base in that it its area will be almost completely covered with white foam. Switching to the ordinary thinner-based modelling putty, I apply a generous  coat of it to the area behind the stern, and then mould the wake by poking it with toothpicks. Chances are that the surface structure obtained but this method is too rough, but it is easy to "soften" the effect by brushing thinner over it.

舰船高速行驶引起的水花和波浪是完全不同的，它将以白色泡沫状的形式覆盖整个区域。选择普通的薄基补土（可能就是一般的牙膏补土吧）。我在舰尾均匀的涂上一片，再用牙签去戳。这样可以很方便的塑造表面结构但是比较粗糙，再用毛刷进行软化就可以了。

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To complete the waves, a coat of Gunze Mr. Surfacer 500 liquid putty is applied in selected areas to smooth out the edges between the epoxy putty and plaster.

继续细化海面，用郡士500液态补土去填充环氧腻子和石膏之间的边缘，使之光滑。

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第四步：上色

First I coat the entire base with white primer. It allows me to discover any remaining joint marks, fingerprints and other blemishes. If found, these are treated with liquid putty. The completed base prior to painting looks like this:

我首先给整个基座上一层白色的底漆，这样更容易发现一些不平整的过渡，指纹或者其他瑕疵。一旦发现，就用液态补土去处理，完成后的效果如图：

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Painting is a tricky problem. Replicating the softness of water in hard material is difficult, and it is all won or lost in the painting phase. Therefore I used to consider my options carefully and test all the steps before applying them "full-scale". For the first attempt, it may be a good idea to produce a scrap plaster base alongside your main project to practice your painting  techniques safely.
I use Loquitex acrylic soft type artists' colours. Loquitex acrylics are very suitable for the purpose because they retain a rich "moistened" look when dry. The colours I used for the Kaga/Akagi base were Titanium White,Phthalocyanine Blue and Emerald Green.

上色是一个非常棘手的问题，挑战是如和在一个坚硬的石膏便面表现一个柔软的海面，可以说成败在此一举。因此我在正式上色之前往往要做多次的尝试和探索。对于第一次尝试的模友来说可以先在废旧的石膏块上做练习来保证技术的安全。
我用Loquitex丙烯酸软式艺术家的色彩。Loquitex丙烯酸树脂之所以适合我们的海面，是因为它干的时候仍保留了丰富的“蘸”时的样子。我使用的颜色分别是钛白粉，酞菁蓝和翡翠绿。

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Another principal decision was the choice of a brush rather than airbrush. Brush painting is able to produce colour depth which is simply unobtainable by airbrush application - a fact well known to figure builders.
For the base colour of the Carrier Division base I used a mixture ofPhthalocyanine Blue and Emerald Green. The colours were applied by brush and mixed directly on the surface of the base to create uneven rather than uniform colour.

上色的时候要用刷子而不是喷枪，因为刷子可以产生色差从而造成海水深度差的感觉（刷子笔触沾有不同的颜色），这一点喷枪做不到。在模型界这已经不是什么秘密了。
在底座上我将酞菁蓝，翡翠绿混合起来，用刷子去刷，并在基座的表面上产生不均匀的效果，而不是均匀的颜色直接混合。

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After covering the entire base, I returned to selected spots with more contrasting tones to add depth. First I went through trough (lowest) spots with the darker tone of blue. Then the  wave crests were brushed with progressively brighter shades, creating gentle gradation of colour from dark to light. 
Loquitex acrylics dry to a matt finish, which is inappropriate for the glossy sea surface. Therefore the entire base was spray-painted with gloss clear varnish at this point.


Step 5. Finishing
At this point your sea should already look quite convincing . But bear with me, it can be made so much better by adding the final step - painting of the wave crests. It does just as much to enliven the sea surface as "weathering" does to models in general. 
The idea is to suggest patches of white foam at the wave crests, and this is best done with dry-brushing. You should start with a mixture of your base colour and white, and progressively add more white in the consecutive dry-brushing passes. I have used four different shades for my base shown here. The result after the 4th shade of blue is shown on the photo below (to the left).


整个区域上色完成之后，对一些区域进行分色处理。首先，用暗色调的蓝色斑点加深波谷。波峰刷上逐渐明亮的色调，尽量使颜色的变化柔和。
Loquitex丙烯酸树脂干燥后表面暗淡，这是和有光泽的海面还有差距。因此，整个表面用光泽清漆在这一点上喷漆。（应该用郡士的光油漆就OK了吧）

第五步：完工

至此，你的海面已将惟妙惟肖了。但是稍等，还能做的更好，我们进一步处理波峰，这将使海面看起来像风吹过的一样。
我们的想法是在波峰处画出一片片白色的泡沫，这是最好用“干扫”。你应该用你的基本色和白色的混合物，连续的在表面扫过，并逐步增加更多的白色。如下图，我已经使用了四种不同的色调。第四种蓝色阴影后的结果被显示在下面的照片（左侧）。

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The last touch is the application  of pure Titanium White on the brim of each wave. You should take care to vary the quantity of white depending on the size of each wave - the largest ones with pronounced brims should get more foam than the smaller waves. The effect is shown on the right photograph.
The massive amounts of white foam in the wake area should be emphasized even more. My method is to coat the wake area with diluted white glue and then sprinkle on the white snow powder used for diorama models.
Another few coats of clear gloss varnish and the base is finished. The complete item is shown below, with pre-drilled holes for screws attaching the models. I hope that you will agree that the result is a quite realistic rendition of an open sea swept by keen wind!

最后一步是在浪花的边缘用纯白色进行干扫，你要根据每个波浪不同的大小来调整白色的用量。大浪会比小小浪造成更多的白色泡沫。效果如右下图：
在舰尾尾流处应该有大量的白色浪花，我的方法是在这个区域涂上白胶，再撒上白色的粉末。（用于一些场景模型中）
完成后涂上一层光油漆。完工后的样子如下图，我预钻一些螺丝孔来连接模型。我希望在你看来我的作品像是一个风浪席卷的海面！

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