Name: 視覺語言 - 10 分鐘提高繪畫水準 - 第 2 集 (Visual Language - 10 Minutes To Better Painting - Episode 2)
Uploaded: 2025-03-14T02:18:46.000Z
Duration: 10 min 11 s

轉承詞

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

拿出你的懷錶和畫筆，因為又到了 "10 分鐘讓繪畫更精彩 "的時間。

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？

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?

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。

這就是康威爾畫這幅畫的原因。

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.

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。

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.

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

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.

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

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。

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?

Ooh, how about Ford Coppola directed movies?

福特-科波拉導演的電影怎麼樣？

至少這個是真的，但還是算了吧。

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.

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。

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.

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

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。

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視覺語言 - 10 分鐘提高繪畫水準 - 第 2 集 (Visual Language - 10 Minutes To Better Painting - Episode 2)

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