Name: 數字筆法 - 10 分鐘提高繪畫水準 - 第 3 集 (Digital Brushwork - 10 Minutes To Better Painting - Episode 3)
Uploaded: 2025-03-14T02:17:56.000Z
Duration: 9 min 36 s

Break out your pocket watch and your paintbrushes, it's time for Episode 3 of 10 Minutes to Better Painting.

拿出你的懷錶和畫筆，現在是《10 分鐘讓繪畫更精彩》第三集的時間。

I am your coherent when edited host, Marco Bucci.

我是主持人馬可-布奇（Marco Bucci）。

你們現在都知道這是怎麼回事了吧。

Writer-director Andrew Stanton believes that the audience actually wants to work for their meal, they just don't want to know they're doing that.

編劇兼導演安德魯-斯坦頓認為，觀眾其實也想為美食而努力，只是他們不想知道自己在做什麼。

Episode 3 is about digital brushwork, which falls under the heading of music.

第 3 集的主題是數字筆觸，屬於音樂範疇。

In music, the possible notes we can play are very limited, but within them, we can find unlimited variety.

在音樂中，我們可以演奏的音符非常有限，但在這些音符中，我們可以找到無限的變化。

And in this episode, we'll explore how that's applicable to brushwork as well.

在這一集中，我們將探討如何將其運用到筆觸創作中。

Brushwork can almost be a dangerous thing to teach because it's a fertile area for expression.

筆法幾乎是一種危險的教學方法，因為它是一個表現力豐富的領域。

And expression, by definition, is personal.

而表達，顧名思義，就是個人的表達。

Leyendecker would rehearse his brushwork, and this page evinces his desire for every little element to be designed and beautiful.

Leyendecker 會排練他的筆法，這一頁體現了他對每一個微小元素的設計和美感的追求。

John Singer Sargent's almost countable brushstrokes gives us insight into the mind of a man who would stop at nothing in his quest for irreducible simplicity.

約翰-辛格-薩金特幾乎可以用數不清的筆觸讓我們瞭解到一個不惜一切代價追求不可還原的簡潔的人的思想。

And Jackson Pollock's manic spillages are nothing less than the emotions of a man living within a hair's breadth of his sanity.

而傑克遜-波洛克的狂躁情緒，正是一個人在理智的邊緣徘徊時的情感流露。

The point is, brushwork is where you announce who you are.

關鍵是，筆觸是你宣佈自己身份的地方。

If you were to play your brushwork in Winamp, what would the music sound like?

如果在 Winamp 中播放您的畫筆作品，音樂會是什麼樣的？

The takeaway here is, the manipulation of paint impacts the viewer on an emotional level, and that is critically important.

這裡的啟示是，對顏料的處理會在情感層面影響觀眾，這一點至關重要。

好了，現在我們來談談數字筆觸。

See, the challenge with digital painting is that your scores of traditional tools are essentially all replaced by simulated stamps.

你看，數字繪畫的挑戰在於，你的幾十種傳統工具基本上都被模擬印章取代了。

And while digital brushes do come in all shapes and sizes, and brush engines are getting more and more sophisticated, essentially what you're dealing with is a shape that gets repeated over and over and over.

雖然數碼筆刷有各種形狀和大小，筆刷引擎也越來越複雜，但從本質上講，你要處理的是一個不斷重複的形狀。

The human brain is exceptionally good at detecting repetition.

Repetition kills variety, and variety is the thing we need to make compelling brushwork.

重複會扼殺多樣性，而多樣性正是我們創作令人信服的筆觸所需要的。

Because while I would never tell you how your brushwork should look, I can point you towards areas that contain variety.

雖然我不會告訴你你的筆觸應該是怎樣的，但我可以為你指出包含多樣性的地方。

Edges are like musical notes, in the sense that there's a limited selection of them.

In fact, I put edges into just three categories.

事實上，我只把邊緣分為三類。

Some objects have softer edges, and other objects have harder edg- Uh oh!

有些物體的邊緣較軟，有些物體的邊緣較硬--啊哦！

Well, I not really took the wind out- But how about this?

我並沒有把風吹走 但這個怎麼樣？

Have you considered that there are edges surrounding every object in the painting?

你有沒有想過，畫中的每個物體周圍都有邊緣？

Edges demanding attention around the perimeter of every brushstroke you make, and if you don't manage those edges properly, your painting will be boring, and mathematicians around the globe still cannot calculate the number of edges in a painting even of this moderate complexity?

你的每一筆都需要注意周圍的邊緣，如果你不能很好地處理這些邊緣，你的畫作就會很乏味，而全球的數學家仍然無法計算出一幅畫的邊緣數量，即使是這種中等複雜程度的畫作？

So here's a simple scene that will afford us a glimpse into creating variety with edgework.

是以，這裡有一個簡單的場景，可以讓我們一窺如何利用邊角料創造多樣性。

Now at the moment, there's nothing but hard edges everywhere.

I want some hard edges, but I certainly don't want them everywhere.

我想要一些硬邊，但肯定不希望到處都是。

Hard edges say to the viewer, I've resolved everything for you, there's no work for you to do here.

硬邊對觀眾說，我已經為你解決了一切問題，這裡沒有你要做的工作。

Think of a hard edge as being like hitting someone over the head with a hammer.

把 "硬邊 "想象成用錘子敲別人的頭。

So I'll create our very first soft edge with an airbrush.

是以，我將用噴槍來製作我們的第一道軟邊。

But I don't like the digital airbrush, there's something sterile about it.

但我不喜歡數碼噴繪，有種無菌的感覺。

The pointillist made soft edges by having little dots kind of bleed one shape into the next.

點彩畫通過讓小圓點從一個形狀滲入到下一個形狀，從而形成柔和的邊緣。

Hmm, and I have this ratty brush whose edge kind of looks like that.

嗯，我有一把破舊的刷子，它的邊緣就像這樣。

So what if I used that brush over top of my airbrush to add some variety to this edge?

那麼，如果我在氣刷上再用這把刷子，為這個邊緣增添一些變化呢？

And hey, while I'm at it, I'll soften some edges that way in other areas too.

嘿嘿，既然這樣，我也可以在其他方面軟化一些邊緣。

A totally different way to soften an edge is using Photoshop's Mixer Brush.

另一種完全不同的柔化邊緣的方法是使用 Photoshop 的混合筆刷。

And because the Mixer Brush has a softer feel, I find it particularly effective against the more textured soft edges I have on there.

由於混合刷的手感更柔軟，我發現它在處理質地更柔軟的邊緣時特別有效。

Here I'm using a typical spatter brush, except I'm aiming it just at the edge.

在這裡，我使用的是典型的濺射筆刷，只不過我把它對準了邊緣。

This gives me additional variety for how one shape can contaminate another shape.

這讓我對一種形狀如何汙染另一種形狀有了更多的瞭解。

All the while I'm doing the Winamp thing, and I'm trying to hear what the music is sounding like as I'm creating these edges.

與此同時，我還在使用 Winamp，並試圖在創建這些邊緣時聽到音樂的聲音。

Our edges chart from earlier is actually drawn to scale.

我們之前繪製的邊緣圖實際上是按比例繪製的。

The soft edge area appears larger because I think in a painterly painting, you are mostly dealing in soft edges.

軟邊區域看起來更大，因為我認為在繪畫中，你主要處理的是軟邊。

Here are just a few notes you can play with varieties of soft edge.

以下是您可以使用各種軟邊演奏的幾個音符。

Soft edges say, there's something here, but I've only given you part of the story.

軟邊說，這裡有些東西，但我只給了你故事的一部分。

You're able to inject some of your own meaning here.

你可以在這裡注入一些自己的意思。

I highly advise manipulating the edge around the silhouette of objects.

我強烈建議對物體輪廓周圍的邊緣進行處理。

Notice that Sargent's hand is not one consistent edge going all the way around.

請注意，薩金特的手並不是一條連貫的邊緣，而是一圈一圈的。

So here's our little example, which now has some hard and soft edges applied.

這就是我們的小范例，現在已經應用了一些硬邊和軟邊。

現在，讓我們來看看失去的邊緣。

Lost edges are where you can no longer detect where one element ends and another begins.

失邊是指你無法再發現一個元素在哪裡結束，另一個元素在哪裡開始。

Lost edges say, I've left this area unresolved.

失去了邊緣，我在這方面的問題還沒有解決。

You have to do the work to make it meaningful.

你必須付出努力，讓它變得有意義。

Back to our example, pay attention to these two areas.

回到我們的例子，注意這兩個方面。

Those edges are going to pop from soft to lost in three, two, one.

三、二、一，這些邊緣就會從柔軟變為脆弱。

So you can see how just by working those edges, we can get some musical digital brushwork.

是以，你可以看到，只需處理這些邊緣，我們就能獲得一些音樂性的數字筆觸。

Brushwork that makes the audience work for their meal and...

Um, don't you think that's a little self-serving?

So in honor of brushwork, I'm going to do a painting of brushes in a studio.

是以，為了紀念毛筆創作，我要畫一幅工作室裡的毛筆畫。

And I want to say right away that unlike the demo in part one, where I started with hard edges and then got softer, I actually tend to work in the reverse way.

我想說的是，在第一部分的演示中，我從硬邊開始，然後逐漸變軟，而我實際上傾向於反其道而行之。

I start with soft edges and progressively sculpt harder edges into it.

我從柔軟的邊緣開始，逐漸雕刻出堅硬的邊緣。

Now that's just a personal choice, but I think it's because as you orchestrate edges, remember that hard edges really grab attention.

這只是我個人的選擇，但我認為這是因為當你安排邊緣時，要記住硬邊緣會吸引注意力。

So I like to put those in later when I know exactly where I want that attention to go.

是以，我喜歡稍後再把這些內容放進去，因為我清楚地知道我想讓注意力集中在哪裡。

Right now, I'm switching my brush a lot and I'm making all kinds of different varieties of soft edge, like I showed you in part one.

現在，我經常更換我的畫筆，我正在製作各種不同的軟邊，就像我在第一部分向你們展示的那樣。

I want as much interest pumped in there early, and then I can kind of sculpt with it.

我希望能儘早激發出更多的興趣，然後再進行雕琢。

Now here comes some brushes in these jars.

現在，這些罐子裡裝著一些畫筆。

And the brushes, there's probably going to be like 30 or 40 brushes in this painting, but I'm not going to paint them all with the same edge.

畫筆方面，這幅畫可能會有 30 或 40 支畫筆，但我不會把它們都畫在同一條邊上。

I will be sure to use everything from hard to soft to lost edges in order to keep those elements in the painting very, very interesting.

為了讓畫中的這些元素保持非常、非常有趣的效果，我一定會使用從硬到軟再到邊緣消失的所有方法。

And that's because if I made hard edges everywhere, I'd lose a lot of intrigue and all the mystery would be gone.

這是因為，如果我到處都做硬邊，就會失去很多吸引力，所有的神祕感都會消失。

Everything would feel overly resolved and I'd lose your interest because there's no work for you to do.

一切都會讓人感覺過於圓滿，我會失去你的興趣，因為你沒有工作可做。

So I will use the Stanton principle to ensure that I'm giving you just enough so that you can complete the story.

是以，我會運用斯坦頓原則，確保我給你的資訊恰到好處，讓你能夠完成故事。

So what I like to do is try and give the viewer just enough hard edges, which again is kind of like hitting them over the head, just so they know exactly what some things are, and then they can extrapolate from there and kind of give context themselves to the softer edges and completely give their own context to the lost edges.

是以，我喜歡做的事情是，儘量給觀眾足夠多的硬邊，這又有點像當頭一棒，讓他們知道有些東西到底是什麼，然後他們可以從那裡推斷，自己給柔和的邊緣賦予背景，並給失去的邊緣完全賦予自己的背景。

But the point is you need to use all of those edges in concert.

但問題是，你需要協調使用所有這些優勢。

If you don't, it'd be like playing the piano, but only using one octave.

如果不這樣做，就像彈鋼琴時只用一個八度音。

So getting back to the painting process, I actually find that my paintings start very rapidly.

回到繪畫過程，我發現我的繪畫開始得非常快。

I have a picture very, very early, but then it slows down pretty dramatically as I then have the workload of sculpting all these edges and orchestrating all these edges and relating all these edges.

我在很早很早的時候就有了一幅圖畫，但隨後速度就大大減慢了，因為我需要雕刻所有這些邊緣，協調所有這些邊緣，並將所有這些邊緣聯繫起來。

Actually, to me, edges are the subject, not just of this painting, of any painting I do.

實際上，對我來說，邊緣是主題，不僅是這幅畫的主題，也是我所做的任何一幅畫的主題。