I'm your subservient host, Marco Bucci.

我是順從的主持人 馬可-布奇

As usual, let's start this thing off with a short lesson.

像往常一樣，我們先來上一堂簡短的課。

Novel editor Sean Coyne would like to remind us that once you lose the audience, it's very difficult to get them back.

小說編輯肖恩-科因（Sean Coyne）想提醒我們，一旦失去了讀者，就很難再把他們找回來。

And a little digging at StatisticsBrain.com will tell you that the average human attention span is a whopping 8.25 seconds.

在 StatisticsBrain.com 網站上稍作調查就會發現，人類的平均注意力持續時間只有 8.25 秒。

Just let that linger in the back of your head for now.

就讓它暫時留在你的腦海中吧。

Okay, this episode is about visual language, which falls under the topic of communication.

好了，這一集的主題是視覺語言，屬於交流的範疇。

Communication might actually be the most important topic, because after all, that's what art is.

實際上，交流可能是最重要的話題，因為畢竟這才是藝術。

To broach the topic, let's examine what a writer does.

要談這個話題，我們先來看看作家是做什麼的。

A writer, like any human being, starts off with a bunch of thoughts, feelings, and emotions.

作家和其他人一樣，一開始也會有很多想法、感受和情緒。

Now those things by themselves are inaccessible to an audience.

現在，這些東西本身已經無法為觀眾所接受。

So the writer uses their primary tool, language, to make the intangible tangible.

是以，作家使用他們的主要工具--語言，將無形變為有形。

And if the writer's any good, the final result will contain a clear message.

如果作者寫得好，最終的結果就會包含明確的資訊。

Now where the writer uses verbal language, we, as painters, use visual language to communicate our message.

現在，作家使用口頭語言，而我們畫家則使用視覺語言來傳達我們的資訊。

Let's stick the word message over here, just so we don't forget it.

讓我們把 "資訊 "這個詞貼在這裡，以免忘記。

Okay, what is this painting by John Singer Sargent about?

約翰-辛格-薩金特的這幅畫是關於什麼的？

What's the message?

有什麼資訊？

What is he trying to show us?

他想向我們展示什麼？

Is it all these pine trees?

是因為這些松樹嗎？

Is it this fallen log?

是這根倒下的木頭嗎？

No, it's clearly about this guy enjoying a painting session out in the woods.

不，這顯然是說這個人在樹林裡享受繪畫的樂趣。

He's the focal point of the picture, and that's what we'll remember about it.

他是畫面的焦點，這也是我們會記住的地方。

Here's a much busier painting by Dean Cornwell.

這是迪安-科威爾（Dean Cornwell）創作的一幅更繁忙的畫作。

But same question, what's the focal point?

但同樣的問題，焦點是什麼？

What's Cornwell's intended message?

科威爾想要傳達什麼資訊？

In a picture populated with people, it's the interaction of these two that stand out.

在人頭攢動的畫面中，這兩人的互動格外引人注目。

This is the message.

這就是資訊。

It's why Cornwell painted this picture.

這就是康威爾畫這幅畫的原因。

But how do we know that?

但我們怎麼知道呢？

How did Cornwell communicate to us that this painting is not actually about these baguettes?

科威爾是如何向我們傳達這幅畫實際上並不是關於這些長棍麵包的？

How did Sargent ensure that we looked at that painter and not get distracted by all those trees?

薩金特是如何確保我們在欣賞畫家的同時，不被那些樹木所幹擾的？

The answer in both cases is they used contrast to help communicate their message.

這兩種情況的答案都是，他們利用對比來幫助傳達資訊。

Now, I think many of us might think of contrast as simply being a matter of light versus dark.

現在，我想我們中的許多人可能會認為對比僅僅是一個明暗的問題。

But that's actually only one example of contrast.

但這其實只是對比的一個例子。

Think of contrast as being equal to any kind of difference.

對比度等同於任何一種差異。

When there's no difference in a picture, all things are rendered equally unimportant.

當畫面中沒有差異時，所有事物都變得同樣不重要。

And that's a problem when you're trying to communicate.

當你試圖溝通時，這就是個問題。

Whereas building in a bit of contrast enhances the focal point and pretty much guarantees a clearer communication with the audience.

而在畫面中加入一些反差，則能強化焦點，並確保與觀眾的交流更加清晰。

So here are some examples of contrast.

下面是一些對比的例子。

We can start with the obvious one, a light shape reading over dark.

我們可以從一個顯而易見的問題開始，即淺色形狀讀取深色。

Or how about areas of high activity versus areas of low activity?

或者，活動頻繁的地區與活動較少的地區相比如何？

How about a frame full of squares with just one circle in it?

一個滿是正方形的相框，裡面只有一個圓，怎麼樣？

Or what about creating difference with texture versus non-texture?

或者，用紋理和非紋理來創造差異呢？

Here's a difference in edges, hard versus soft.

這是硬邊和軟邊的區別。

How about a simple difference in the direction of a shape?

形狀方向的簡單差異如何？

And here's one where a higher degree of finish contrasts against more sketchy areas.

在這裡，較高的光潔度與較粗糙的區域形成鮮明對比。

Looking back at the Cornwall example, he's using a contrast between areas of high activity in the crowd where no one really stands out versus areas of lower activity to make these two stand out.

回過頭來看康沃爾的例子，他利用人群中沒有人真正突出的高活躍度區域與低活躍度區域之間的對比，使這兩個區域脫穎而出。

There's a second contrast at play as well.

還有第二種對比在起作用。

Their silhouettes are the area of highest contrast, dark over light.

它們的輪廓是反差最大的區域，深色覆蓋著淺色。

And that's how effective contrast can be in communicating a focal point.

這就是對比在傳達焦點方面的功效。

So let's go ahead and add contrast and focal point to our notes.

是以，讓我們繼續為筆記添加對比度和焦點。

Here's a painting by Mead Schaefer and a painting by Norman Rockwell.

這是一幅米德-舍費爾的畫作和一幅諾曼-洛克威爾的畫作。

These are examples of another tool for visual language that I call direction.

這些都是我稱之為 "方向 "的另一種視覺語言工具的例子。

In the Mead Schaefer painting, we're directed through the picture by this elegant and simple

在米德-舍費爾的畫作中，我們被這幅優雅而簡潔的畫作引導著穿越畫面

C curve.

C 曲線

Every important piece of the message lies on that curve.

資訊的每一個重要部分都在這條曲線上。

Schaefer is also using contrast here to make sure we specifically pay attention to what these guys are doing.

謝弗在這裡還利用對比來確保我們特別關注這些人的所作所為。

The Rockwell painting employs a different kind of curve.

羅克韋爾的畫作採用了另一種曲線。

Actually, it's a series of straights that all converge at the focal point.

實際上，它是一系列直線，都匯聚在焦點處。

The fact that we're then ushered out of the painting in three different directions amplifies the message of those kids arguing.

隨後，我們被從三個不同的方向帶出畫外，這更突出了孩子們爭吵的資訊。

Another cool thing about direction is the nature of the curve can support the message of the picture.

關於方向的另一個酷點是，曲線的性質可以支持圖片的資訊。

Hard, straight, X-shaped lines emphasize the physical strain in this picture, while the sensual C curve in this picture almost romanticizes the pirates' actions.

堅硬、筆直的 X 形線條強調了畫面中的身體壓力，而畫面中感性的 C 形曲線則幾乎將海盜的行為浪漫化了。

All right, so let's add the word direction here.

好了，讓我們在這裡加上 "方向 "一詞。

So we've got a nice little list of four tools for visual language.

是以，我們已經有了一份不錯的小清單，上面列出了四種視覺語言工具。

But one thing I cannot abide is a teacher who hands out a list that no one is going to remember.

但我最不能忍受的是，老師開出的清單沒有人會記住。

So I'm going to make this stick by coming up with a good abbreviation.

是以，我要想出一個好的縮寫，讓這個縮寫更貼切。

So let's see.

讓我們看看

Maybe I can start with the first letter of each word.

也許我可以從每個單詞的第一個字母開始。

How about doubts clouding future momentum?

對未來勢頭的疑慮如何？

God, that's awful.

天哪，太可怕了

Nope.

沒有。

How about Count Dracula finds mommy?

德古拉伯爵找到媽媽怎麼樣？

Yeah, better, but no.

是的，好多了，但還是不行。

Ooh, how about Ford Coppola directed movies?

福特-科波拉導演的電影怎麼樣？

At least that one's true, but pass.

至少這個是真的，但還是算了吧。

Hmm, this is hard.

嗯，這很難。

Let's take a short break and come back to it.

讓我們稍事休息，然後再來討論這個問題。

Hey, remember how we only had 8.25 seconds of attention?

嘿，還記得我們只有 8.25 秒的注意力嗎？

Did you know that a goldfish has nine seconds?

你知道一條金魚有 9 秒鐘的時間嗎？

Yeah, it's like the human race has been cheated.

是啊，人類好像被騙了。

Wait, that's it.

等等，就是這樣。

Cheated.

被騙了

If you show me a picture with no message, I feel cheated.

如果你給我看的是一張沒有資訊的照片，我會覺得被欺騙了。

So don't f***ing cheat me.

所以別他媽的騙我。

If you cheat the audience out of a message, you'll lose them.

如果你欺騙觀眾，你就會失去他們。

And once you lose them, it's very hard to get them back.

一旦失去，就很難再找回來。

So don't f***ing cheat me out of a message.

所以，別他媽的騙我的資訊。

Implement these visual language tools and see how much more clearly your paintings communicate as a result.

使用這些視覺語言工具，看看你的繪畫作品會如何更清晰地傳達資訊。

These are sketches from Prague, one of my favorite European cities, a place just begging to be painted.

這些是我在布拉格畫的素描，布拉格是我最喜歡的歐洲城市之一，也是一個值得一畫的地方。

And as you can see, there's no shortage of things to potentially make the painting about.

正如你所看到的，這幅畫可以表現的東西並不少。

So your first job as a painter is to decide what that thing is and then proceed from there.

是以，作為一名畫家，你的首要任務就是確定那是什麼東西，然後從那裡著手。

Even a city as beautiful as Prague needs to be filtered through these tools for visual language in order to come up with a cohesive painting.

即使是像布拉格這樣美麗的城市，也需要通過這些視覺語言工具的過濾，才能繪製出一幅具有凝聚力的畫作。

So to go about painting this, I'm using the same visual language tools that I just showed you.

是以，為了繪製這幅畫，我使用了剛才向你們展示的視覺語言工具。

My focal point, which should be obvious already, is those two buildings on the right third that are separated via a shape contrast.

我的焦點應該已經很明顯了，那就是右邊三分之一處通過形狀對比分隔開來的兩座建築。

And by that, I mean they make one shape that is different than the smaller shapes that surround them.

我的意思是，它們做出的形狀與周圍的小形狀不同。

And the second piece of visual language I'm using is direction.

我使用的第二種視覺語言是方向。

I'm using a graceful C curve via that river that wraps right around the focal point.

我通過那條河，用優美的 C 形曲線環繞焦點。

It gives our eye a path to follow, lending some movement to the piece.

它給我們的視線提供了一條路徑，使作品有了一些動感。

And I think C curves are quite elegant, which happens to be perfect for Prague.

我認為 C 型曲線非常優雅，非常適合布拉格。

And you probably noticed I established these things right away.

你可能注意到了，我馬上就確定了這些事情。

They were the first things on the canvas.

它們是畫布上最先出現的東西。

And that's really important to me.

這對我來說非常重要。

At least my most successful paintings come when I have a clear idea of what I want to say and then how I want to use these tools of visual language to say it.

至少，當我清楚地知道自己想表達什麼，然後想如何使用這些視覺語言工具來表達時，我的畫作才會最成功。

And then the paintbrush just flows more naturally because everything seems to then have a place, a hierarchy.

然後，畫筆就會更自然地流淌，因為一切似乎都有了位置和層次。

You know, I could leave this as a quick sketch, which I'm doing here, or I could take it to something very rendered and finished.

你知道，我可以把它當作一個快速草圖，就像我在這裡做的那樣，或者我也可以把它變成一個非常渲染和完成的東西。

But with these visual language tools at play from the start, I know my message will not change.

但是，有了這些從一開始就發揮作用的視覺語言工具，我知道我傳達的資訊不會改變。

Okay, on to the next quick sketch.

好了，開始下一個快速素描。

I think I'm going to make this one a little more fantasy based.

我想我要把這個故事寫得更富幻想色彩一些。

And what I'm going to do is I'm going to amp up the visual language for that.

而我要做的，就是為此強化視覺語言。

So right away, that big building again is the focal point.

是以，那座大建築立刻又成了焦點。

And everything is going to lead you to that.

一切都會引導你實現這一點。

So you see that triangle, that's water there that I just blocked in.

所以，你看那個三角形，就是我剛剛擋住的水。

That is literally a pointing device that points straight to the focal point.

這就是一個指向裝置，直指焦點。

Also, it's very angular, which contrasts the very circular focal point.

此外，它非常有稜有角，與非常圓的焦點形成鮮明對比。

In fact, I think I'm going to try and make the foreground area more angular as a rule, which will help separate it or help it be different from the focal point.

事實上，我想我會嘗試讓前景區域更有稜角，這有助於將其與焦點分開或使其與焦點不同。

I think fantasy, by the way, is a good opportunity to audition different kinds of shapes on the canvas and really try and push the difference between circles and hard edge shapes.

順便說一句，我認為幻想是一個很好的機會，可以在畫布上嘗試不同的形狀，並真正嘗試圓形和硬邊形狀之間的區別。

For example, that's what brings us into the realm of fantasy, because in real life, things tend to be a little more similar rather than so starkly different.

舉例來說，這就是我們進入幻想領域的原因，因為在現實生活中，事情往往比較相似，而不是截然不同。

So I'll work up this area of foreground now.

所以，我現在要把這塊前景區域處理好。

And when I do that, I'll make sure to make more angular shapes, you can see boxy shapes and triangular shapes.

當我這樣做時，我會確保做出更多有稜有角的形狀，你可以看到方形和三角形。

I'm really refraining myself from using circles, I really want the circles to be in the focal point.

我真的不想用圓圈，我真的想讓圓圈成為焦點。

Also notice the circles are in the clouds.

請注意，這些圓圈就在雲層中。

So anything kind of in that focal range gets circles, and then everything else will get angles.

是以，在這個焦距範圍內的任何東西都會變成圓形，然後其他東西都會變成角形。

There's another subtle piece of direction happening here, the water points in and the clouds point in and they cross right at the focal points.

這裡還有一個微妙的方向：水向內，雲也向內，它們正好在焦點處交叉。

That's another thing I've designed into the picture.

這也是我設計的另一項內容。

And just to finish it off, here are three boats, of course, they're angles as well because they belong to the foreground.

最後，這裡有三艘船，當然，它們也有角度，因為它們屬於前景。

And just like that, there's our finished sketch.

就這樣，我們完成了草圖。

Okay, let's do one more.

好吧，我們再來一次。

I'll go back to a more naturalistic look to this one.

我想讓這幅畫看起來更自然一些。

And I'll make it a night shot so I can really play up some heavy contrast, leading your eye directly to those two buildings in the middle.

我會把它拍成一張夜景照片，這樣就能營造出強烈的對比，讓你的視線直接投向中間的兩座建築。

And again, I worked that in very early on in the process.

再說一次，我在很早的時候就把這一點考慮進去了。

So I'm always building up from something simple.

所以，我總是從簡單的事情做起。

It's very difficult to start complex and then find simplicity, that method doesn't really work for me.

從複雜到簡單是很難的，這種方法對我並不適用。

Aside from the heavy contrast, notice that there's a subtle V composition here, almost as if the two buildings in the focal point are nestled into this valley custom made just for them.

除了強烈的對比之外，請注意這裡還有一種微妙的 V 型構圖，就好像焦點上的兩座建築依偎在為它們量身定做的山谷中。

And not only that, but this painting is also very vertical.

不僅如此，這幅畫還非常垂直。

Even though it's a horizontal composition, it's very vertical.

雖然是橫向構圖，卻非常垂直。

All the buildings are pointed straight up and down.

所有建築都直上直下。

That helps lend the piece structure, which is perfect for painting buildings.

這有助於賦予作品結構感，非常適合繪製建築物。

And just a reminder, the audience is not meant to be aware of these tools of visual language.

在此提醒大家，觀眾並不瞭解這些視覺語言工具。

That's our job as artists.

這是我們作為藝術家的職責。

The audience just wants to look at a picture very quickly, be led to a focal point and come away with a message.

觀眾只想快速瀏覽一幅圖片，找到一個焦點，然後得到一個資訊。

If that happens, you win.

如果這樣，你就贏了。

How many times has the following scenario happened to you?

以下情況在你身上發生過多少次？

Exhibit A, you start a painting and you feel great.

證據 A：你開始畫畫時感覺很好。

It's going to be your best painting yet.

這將是你迄今為止畫得最好的一幅畫。

And then time runs its course and we get exhibit B.

然後時間流逝，我們得到了證物 B。

Now don't worry.

現在不用擔心了。

This doesn't mean you're a failure as an artist.

這並不意味著你是一個失敗的藝術家。

In my experience, this is the result of just not thinking simply enough and therefore not effectively communicating your message.

根據我的經驗，這只是思維不夠簡單的結果，是以無法有效傳達你的資訊。

What I do is I ask myself, what's the message?

我所做的就是問自己，資訊是什麼？

What am I trying to show?

我想表達什麼？

And once you got that, you can make it the focal point and have everything else support it.

一旦做到這一點，你就可以讓它成為焦點，讓其他一切都為它提供支持。

All of us fight against a natural human tendency to overcomplicate things, but just remind yourself of the beautiful simplicity in the examples earlier.

我們每個人都在與人類過度複雜化的自然傾向作鬥爭，但只需提醒自己注意前面例子中的美麗簡約。

You'll feel like you've got to embed the Fibonacci sequence into your paintings just to make them work.

你會覺得你必須把斐波那契數列嵌入你的畫作中，才能讓它們發揮作用。

There is one time where you absolutely have to use the Fibonacci sequence though.

不過，有一次你絕對必須使用斐波那契數列。

And it's when you're painting a picture of a cat.

當你畫一隻貓的時候。