Name: 好形狀 - 10 分鐘讓繪畫更出色 - 第 4 集 (Good Shapes - 10 Minutes To Better Painting - Episode 4)
Uploaded: 2025-03-14T02:19:55.000Z
Duration: 10 min 25 s

Break out your pocket watch and your paintbrushes, it's time for episode 4 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》第四集的時間。

I am your deadline-pushing host, Marco Bucci.

Screenwriter Aaron Sorkin says, I laugh when people ask if I ever get writer's block.

編劇亞倫-索金（Aaron Sorkin）說："當人們問我有沒有寫作障礙時，我會笑著回答。

In this episode, we'll be looking at good shapes, a topic that can be found in the broader chapter of readability.

在本集中，我們將探討良好的形狀，這個話題可以在更廣泛的可讀性章節中找到。

We read pictures in much the same way as we read words, like how a series of abstract markings form a sequence of words which together provide meaning, a painting does just the same thing, only with shapes instead.

我們閱讀圖片的方式與閱讀文字的方式大致相同，就像一系列抽象的標記構成了一連串的文字，而這些文字又共同提供了意義，繪畫也是如此，只不過是用形狀代替了文字。

And good shapes are what build good paintings.

而好的造型才能創作出好的畫作。

Leyendecker to be a good painting, and one of the main reasons I think that is because it's chock-full of what I consider to be good shapes.

Leyendecker 是一幅好畫，我認為其中一個主要原因是它充滿了我認為好的形狀。

But I don't want to get ahead of myself, you might be wondering, what exactly do I mean by shapes?

但我不想說得太早，你可能會想知道，我說的形狀到底是什麼意思？

Well, probably, the kind of shape we're all familiar with is this one, the outline or  Silhouettes are maybe the first kind of shape we recognize as children.

我們最熟悉的形狀可能就是這種輪廓，或者說剪影可能是我們小時候認識的第一種形狀。

But when we're painting, we have to deal with many, many more shapes than just a silhouette.

但當我們作畫時，我們要處理的形狀遠不止剪影那麼簡單。

Like, for example, this shape, responsible for defining some of the blue light that's falling on his face.

比如說，這個形狀，負責界定落在他臉上的一些藍光。

Or this shape, which contains some of the warm light that's coming from that match.

或者這個形狀，它包含了火柴發出的一些暖光。

This shape actually straddles two things, the cast shadow of the ear and the sideburns.

這種形狀實際上跨越了兩個方面，一是耳朵的投影，二是鬢角。

Here's a shape of light on the underside of the brim of the hat.

And here's its counterpart shape for the shadow of the same object.

下面是同一物體陰影的對應形狀。

Here's a zippy little shape of highlight on the chin.

And here's that same shape, only inverted, making up the eyebrow.

下面是同樣的形狀，只是倒過來構成了眉毛。

Okay, please follow me over to this painting by Walter Everett.

好了，請跟我到沃爾特-埃弗雷特的這幅畫前。

This one's a little more subtle, but let's do the same shape isolation exercise.

這個動作比較微妙，但讓我們做同樣的形狀隔離練習。

Here are three shapes responsible for ambient light falling on the woman's dress.

這裡有三種形狀，它們負責將環境光落在這位女士的裙子上。

Here are two kind of pointy shapes responsible for patches of the landscape.

這裡有兩種尖尖的形狀，負責景觀的補丁。

And here's a neighboring shape also responsible for part of the landscape.

這裡還有一個鄰近的形狀，也是景觀的一部分。

And let's quickly zoom in to catch a few more soft shapes like this one here that belongs to the side plane of the woman's face.

讓我們快速放大，捕捉一些更柔和的形狀，比如這個屬於女人臉部側平面的形狀。

This subtle shape of light on the man's sleeve.

男人袖子上的這種微妙的光線形狀。

And finally, this shape of shadow under the woman's jaw.

最後，女人下頜下的陰影形狀。

Okay, before we move further, how many of you have heard this old adage?

好了，在我們繼續前進之前，有多少人聽過這句老話？

Those three words often get passed off as wisdom, but to me they're a little cryptic.

這三個詞常常被當作智慧，但對我來說，它們有點隱晦。

I mean, if painting is like a recipe that calls for shapes, values, edges, and color, when we mix those ingredients, what exactly do we need less of?

我的意思是，如果繪畫就像一份配方，需要形狀、價值、邊緣和顏色，那麼當我們混合這些成分時，究竟需要少些什麼呢？

Try to keep that question in mind as we continue this lesson.

在我們繼續上這一課的時候，請試著記住這個問題。

Alright, so these are all the shapes we isolated a minute ago, plus just a few more to fill out the page.

好了，這些就是我們剛才分離出來的所有形狀，另外還有一些填充頁面的形狀。

And I've rescaled them all so they appear now at roughly the same size.

我已經重新調整了它們的比例，是以它們現在看起來大小大致相同。

So let's look at these and see if we can come up with some observations.

是以，讓我們來看看這些數據，看看能否得出一些結論。

Is there anything here that jumps out at you?

這裡有什麼讓你眼前一亮的嗎？

Maybe the biggest thing I notice is that these shapes are abstract.

也許我注意到的最大問題是，這些形狀都是抽象的。

That is, by themselves, they don't have any inherent meaning.

也就是說，它們本身沒有任何內在意義。

Even though a moment ago they looked like brims of hats or light and shadows on faces or bits of the landscape, when you see them by themselves like this, they don't actually look like any of those things.

儘管剛才它們看起來像帽簷、臉上的光影或風景的碎片，但當你看到它們本身時，它們實際上並不像這些東西。

In a weird way, it's almost like the painter is speaking a different language than the picture.

從某種怪異的角度來看，這幾乎就像是畫家在說一種與畫面不同的語言。

Alright, let's keep our detective hats on and make a few more observations.

好吧，讓我們戴上偵探帽，再觀察一下。

How about how simple all those shapes are?

所有這些形狀都很簡單，怎麼樣？

I'm sure any one of us here could draw any of those shapes.

我相信在座的任何一位都能畫出這些形狀。

Before we continue this investigation, I think we should take some notes.

在我們繼續調查之前，我想我們應該做一些記錄。

When I saw these shapes for the first time, I knew they were trouble.

當我第一次看到這些形狀時，我就知道它們很麻煩。

They must be good shapes because they were part of good paintings.

它們一定是好的形狀，因為它們是好畫的一部分。

就像我們任何人都能做到一樣。

There's just something so, so intentional about them.

Even if we zoom out in Photoshop, the shapes still, they still read clearly.

即使我們在 Photoshop 中放大，形狀依然清晰可讀。

還有，這本筆記本是誰留在這裡的？

When you're painting, try and think of these three basic marks.

作畫時，試著想想這三個基本標記。

With C curves, S curves, and straights, you can draw or paint any shape.

通過 C 曲線、S 曲線和直線，您可以繪製或描繪任何形狀。

And sticking to just those three will help you become conscious of exactly the shape you're making.

堅持這三點會讓你意識到自己正在塑造的形狀。

And now looking back at these shapes, we can do some further analysis.

現在回過頭來看這些形狀，我們可以做一些進一步的分析。

Take the shape on the top right, for example.

I really like how this shape is designed.

It's a graceful shape made by essentially two C curves, each having a slightly different flow.

它的形狀優美，基本上由兩條 C 形曲線構成，每條曲線的流向略有不同。

And predictably, it's made mostly of straights.

而且可以預見的是，這裡大部分都是異性戀者。

And these two little C curves help break up that pattern and give it maybe a little more interest.

這兩個小小的 C 形曲線有助於打破這種模式，使其更有趣味性。

And the other side is more complex, made of smaller straights and C curves.

而另一側則更為複雜，由較小的直道和 C 形彎道組成。

You know, I really wish there was some kind of superior art authority board that could certify your shapes.

你知道，我真希望能有一個高級藝術權威委員會來認證你的造型。

And these four criteria are a good place to start.

這四條標準是一個很好的開始。

You see, it's all too easy to neglect this lesson and make a shape that's overly self-important.

你看，我們很容易忽視這一課，做出過於自我的形狀。

Fill a canvas with those, and it feels like a clogged drain.

把這些東西塞滿畫布，感覺就像下水道堵塞了一樣。

You can evaluate good shapes by how well they retain their design when they fill up a canvas.

您可以通過填充畫布時形狀的保持程度來評價好的形狀。

So if I catch myself making a shape like this, I'll try and redesign it using C curves, S curves, and straights to bring out its inherent identity a little better.

是以，如果我發現自己做出了這樣的形狀，我會嘗試用 C 形曲線、S 形曲線和直線來重新設計它，以便更好地彰顯它的固有特性。

And now that I've arrived at a simple statement, maybe I can design back in some of that complexity.

現在我有了一個簡單的說法，也許我可以設計回一些複雜的東西。

And don't fall into the trap of simply trying to copy from nature.

不要落入簡單模仿自然的陷阱。

Nature is under no obligation to provide good shapes.

大自然沒有義務提供好的形狀。

Sometimes nature will spoon feed you with simple, readable, drawable shapes.

有時，大自然會用簡單、可讀、可畫的形狀來 "哺育 "你。

But most of the time, yeah, there's going to be some work to do.

但大多數情況下，是的，會有一些工作要做。

And from personal experience, it's about turning shapes into less so that together they can communicate more.

根據個人經驗，這就是要化繁為簡，讓它們在一起能傳遞更多資訊。

所以，振作起來吧，亞倫-索金。

We have, I don't know, shape dysfunction.

我們有，我不知道，形狀功能障礙。

But let's find comfort in the fact that we all suffer together.

但是，讓我們從我們共同遭受的痛苦中找到安慰吧。

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好形狀 - 10 分鐘讓繪畫更出色 - 第 4 集 (Good Shapes - 10 Minutes To Better Painting - Episode 4)

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