Name: 光與影 - 10 分鐘讓繪畫更出色 - 第 6 集 (Light and Shadow - 10 Minutes To Better Painting - Episode 6)
Uploaded: 2025-03-14T02:59:03.000Z
Duration: 10 min 22 s

祈使句型

Break out your pocket watch and your paintbrushes.

形容詞比較級

It's time for Episode 6 of 10 Minutes to Better Painting.

現在是 "10 分鐘改善繪畫 "第 6 集的時間。

I am your cyberly gregarious host, Marco Bucci.

我是你們的網絡主持人馬可-布奇。

Playwright August Wilson said, the simpler you say it, the more eloquent it is.

劇作家奧古斯特-威爾遜說過，說得越簡單，就越有說服力。

This episode is about light and shadow, which falls under the category of values.

本集的主題是光與影，屬於價值觀的範疇。

Values, of course, refers to the grayscale between white and black.

當然，數值指的是介於白色和黑色之間的灰度。

Now, when we see the work of great painters like Frank Frazetta, Saul Tepper, John Singer Sargent, the quality of light and shadow gives their paintings a real dimension, like they're about to pop right off the canvas.

現在，當我們看到弗蘭克-弗雷澤塔（Frank Frazetta）、索爾-泰珀（Saul Tepper）、約翰-辛格-薩金特（John Singer Sargent）等偉大畫家的作品時，光影的品質賦予了他們的畫作一種真實的維度，就好像它們馬上就要從畫布上蹦出來一樣。

And when I take the color away, the effect of light remains equally strong.

而當我褪去色彩，光的效果依然同樣強烈。

Where we talked about how good shapes are an essential part of making good paintings.

在那裡，我們談到了好的形狀是創作好畫的重要組成部分。

In this lesson, we'll be connecting our shapes to some values.

在本課中，我們將把圖形與一些數值聯繫起來。

And I say some values, because a good painting does not treat the value scale like an all-you-can-eat buffet.

我說的是一些價值，因為一幅好的畫作不會把價值尺度當成自助餐。

If our goal is to paint light and shadow, we have to be very conscious about our shape-value connections.

如果我們的目標是描繪光與影，我們就必須非常注意形狀與價值的聯繫。

And this lesson will focus on just three values, three values that I consider essential to understand.

本節課將重點介紹三種價值觀，三種我認為必須瞭解的價值觀。

Two of those values will describe the light, and one value will describe the shadow.

其中兩個值描述光線，一個值描述陰影。

那麼，讓我們來安排一個簡單的靜物吧。

Okay, now we need a light, and our unpaid intern will switch on the light.

好了，現在我們需要一盞燈，我們的無薪實習生會把燈打開。

So anyway, our still life is just waiting for us to paint some light and shadow.

總之，我們的靜物就等著我們去描繪光影了。

First, we'll have to find some light and shadow shapes, and then we'll need to connect values to those shapes.

首先，我們需要找到一些光影形狀，然後將數值與這些形狀連接起來。

But before I do that, there's a checklist of fundamental things that we need to know.

但在此之前，我們需要了解一些基本情況。

Planes have a very specific orientation in space.

飛機在空間中有一個非常明確的方向。

You can put planes together to understand three-dimensional form, which is handy when, huh, what?

你可以將平面拼接起來理解三維形式，這在什麼情況下很方便？

If you're so smart, why don't you just be a contestant on the brand new 10 Minutes to Better Painting Smartphone Game Show?

如果你這麼聰明，為什麼不參加全新的 "10 分鐘讓繪畫更完美 "智能手機遊戲秀呢？

Shadow values are what than light values?

Darker, of course, most of you nailed it.

當然是深色，你們大多數人都說對了。

When you're painting light and shadow, your number one job is to keep the two separate.

在畫光影時，你的首要任務是將兩者分開。

For example, the shadow values in this Frazetta painting are all way down here.

例如，弗雷澤塔這幅畫中的陰影值都在這裡。

And by contrast, the light values are way up here.

相比之下，這裡的光照值要高得多。

We'll explore a little later how doing this really helps with clarity.

我們稍後將探討這樣做如何真正有助於提高清晰度。

一般來說，光線是沿空白線傳播的。

Generally speaking, light travels through the air in straight lines, a phenomenon so reliable that most of us proved it in fifth grade science class.

一般來說，光在空氣中是以直線傳播的，這種現象非常可靠，我們大多數人在五年級的科學課上就證明了這一點。

Final answer is, if you answered all three correctly, today's grand prize is.

最終答案是，如果您三項都答對了，今天的大獎就是

So in shadow, we have cast shadows and form shadows.

是以，在陰影中，我們有投射陰影和形成陰影。

而這幅薩金特的畫作兩者兼備。

Cast shadows happen where the light is blocked.

當光線被遮擋時，就會產生陰影。

And because the nose kind of juts out of the face, it blocks the light.

因為鼻子突出臉部，所以擋住了光線。

And what we get is a projection of the shape of the nose onto the face.

我們得到的是鼻子形狀在臉上的投影。

So cast shadows adopt the shape of whatever's causing them.

是以，投射的陰影會採用造成陰影的物體的形狀。

Form shadows, on the other hand, occur when planes turn away from the light.

另一方面，當平面偏離光線時就會產生形影。

And the resulting shape is determined by the particular arrangement of planes in that area.

而由此產生的形狀是由該區域內平面的特定排列決定的。

So moving back to our still life with our selection of values and our checklist of fundamentals, we can now add light and shadow.

是以，帶著我們選擇的數值和基本要素清單，回到我們的靜物，現在我們可以添加光影了。

And remember, I'm only going to use three values.

The first value will tell the viewer everything that's in light.

第一個數值將告訴觀眾光線中的一切。

So I'll choose a value that's pretty light, like this one.

所以我會選擇一個很輕的數值，比如這個。

And because light's coming from above, I can just find every plane that points up and give them all that value.

因為光線是從上方射來的，所以我可以找到每一個指向上方的平面，並賦予它們所有的價值。

I'm going to say yes and give them the same value.

我會說是的，給他們同樣的價值。

So every plane that was facing the light received one average value.

是以，每個面對光線的平面都得到了一個平均值。

In fact, I call that value average light.

事實上，我把這種價值稱為平均光。

Now I'll give the shadows the exact same treatment.

現在，我將對陰影進行完全相同的處理。

Even though there are two shadows here, the form shadow on the sphere and the cast shadow projected onto the floor, I'm going to merge them together as one shape.

雖然這裡有兩個陰影，一個是球體上的形狀陰影，另一個是投射到地板上的投影陰影，但我還是要把它們合併為一個形狀。

Now I'll choose a value that is clearly separate from my average light value, like this one, and I'll fill it in.

現在，我會選擇一個與平均光值明顯不同的值，比如這個，然後填入它。

This average shadow value is called, you guessed it, average shadow.

這個平均陰影值就是平均陰影值。

Now before I show you the third value, let's reflect on just these two.

現在，在我向你們展示第三個價值之前，讓我們先回顧一下這兩個價值。

They look kind of simple on a sphere, but simplicity is exactly the point.

它們在球體上看起來有點簡單，但簡單正是重點。

This figure's light and shadow shapes are more complex than the spheres, but that doesn't mean your values have to get more complicated.

這個人物的光影形狀比球形更復雜，但這並不意味著你的數值必須變得更復雜。

A tiny bit of editing reveals that Frazette is doing most of the work with just average light and average shadow.

稍加剪輯就會發現，Frazette 的大部分工作都是在光線和陰影都很一般的情況下完成的。

A similar edit on these paintings also reveals the same high contrast, two value principle.

對這些畫作進行類似的編輯，也會發現同樣的高對比度、雙值原則。

Sargent achieves remarkable subtlety here by bringing his shadows closer to the lights, but still we can deconstruct it to see simple shapes of average light and average shadow providing the foundation.

薩金特通過讓陰影更接近光線，在此實現了非凡的微妙效果，但我們仍然可以將其解構，看到由普通光線和普通陰影構成的簡單形狀。

Okay, so here's our final value of the day.

好了，這是我們今天的最後一個值。

Remember this row of planes that's just barely facing the light?

還記得這排勉強朝向燈光的飛機嗎？

It's often helpful to reserve a value to describe that.

預留一個值來描述這一點通常很有幫助。

So I'll pick a value that's just slightly darker than our average light, this'll work, and I'll fill it in.

是以，我將選擇一個比我們的平均光線稍暗的值，這樣就可以了，然後將其填充進去。

It can show where light transitions to shadow.

它可以顯示光線向陰影過渡的位置。

Let's bring up this Sargent painting again.

我們再來看看薩金特的這幅畫。

We've already looked at the light source and the shadows, so let's identify the other two values.

我們已經瞭解了光源和陰影，現在來確定另外兩個值。

We can pull an average light value from this broad area.

我們可以從這個廣闊的區域中得出一個平均光值。

Those values hover around here on our grayscale.

Now we've got a whole ton of values from which to choose a halftone, so how can we stay controlled here and not treat the value scale like an all-you-can-eat buffet?

現在，我們有一大堆數值可以選擇半色調，那麼如何才能保持控制，不把數值標尺當成自助餐廳？

Well, remember that shadows are darker than lights, and we want that to be very clear.

請記住，陰影比光線更暗，我們希望這一點非常清楚。

Sargent's advice is to ignore the values that are close to the shadow, and instead choose a value closer to the average light.

薩金特的建議是忽略接近陰影的數值，而選擇更接近平均光線的數值。

Remember, halftone planes are still facing the light, but starting to really turn away from the light.

記住，半色調平面仍然朝向光線，但開始真正遠離光線。

I'll fade that away now so you can judge how the halftones are just a step darker than average light before the values plunge into shadow.

我現在把它淡化掉，這樣你就可以判斷半色調是如何在數值陷入陰影之前比平均光暗了一步的。

Now the human head is far more complex than a sphere, so I'd like you to meet my art friend, the Isauro head, a 360-degree cast of the planes of the head.

現在，人的頭部比球體複雜得多，所以我想讓你們認識一下我的藝術朋友--伊紹羅頭，這是一個 360 度的頭部平面模型。

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光與影 - 10 分鐘讓繪畫更出色 - 第 6 集 (Light and Shadow - 10 Minutes To Better Painting - Episode 6)

constantly

episode

discipline

essential