I'm your itinerant host, Marco Bucci.

我是你們的巡迴主持人 馬可-布奇

Let's roll right into part one, shall we?

讓我們直接進入第一部分，好嗎？

Say hello to multiple time pre to West winner Morgan Weisling.

向多次獲得 "西部賽前冠軍 "的摩根-魏斯林問好。

When asked about his color mixing, Morgan said, I don't know what I'm mixing.

當被問及他的調色方法時，摩根說："我不知道我在調什麼。

The colors on my palette are like a piano and I'm just hitting the keys.

我調色板上的顏色就像一架鋼琴，我只是在敲擊琴鍵。

Okay, I appreciate the insight, Morgan, but that doesn't quite help me with this whole color.

好吧，我很欣賞你的洞察力，摩根，但這並不能幫我解決整個顏色的問題。

Oh, look, it's world renowned watercolor artist Joseph Zabuckvich.

哦，看，是世界著名的水彩畫家約瑟夫-扎布克維奇。

Maybe he can spare some knowledge about color.

也許他能提供一些關於顏色的知識。

He says, I don't look at the colors on my palette.

他說，我不看調色板上的顏色。

There's a warm side, a cool side, and a few odds and ends in the middle.

有溫暖的一面，也有涼爽的一面，中間還有一些零碎的東西。

Now maybe it's just me, but that advice sounds like it's coming from people who don't know how to use color, but that's a Morgan Weisling painting and that's a Joseph Zabuckvich painting and the colors in both of them are beautiful.

也許只是我的錯覺，但這些建議聽起來像是出自不懂色彩的人之口，但那是摩根-魏斯林的畫，那是約瑟夫-扎布克維奇的畫，兩者的色彩都很美。

Today's lesson is about color harmony and color harmony sounds intimidating.

今天的課程是關於色彩和諧，而色彩和諧聽起來很嚇人。

It always struck me as one of those elite color theories that a lowly student like me would never be able to understand.

我一直覺得這是一種精英色彩理論，像我這樣的低等學生是永遠無法理解的。

And there was a kernel of truth in the way Weisling and Zabuckvich talked about color a moment ago in the sense that there's just something indescribable about the effect these colors have together.

剛才魏斯林和扎布克維奇談到色彩時說的一句話很有道理，這些色彩搭配在一起產生的效果是無法形容的。

But despite that, let's not go any further without having a working definition of color harmony.

儘管如此，在沒有對色彩和諧有一個可行的定義之前，我們還是不要再往前走了。

Well, we know what color is, so let's look up harmony real quick.

好了，我們知道顏色是什麼了，那就讓我們來快速查找一下 "和諧 "吧。

Harmony, the combination of simultaneously sounded musical notes to produce a pleasing effect.

和聲，將同時響起的音符組合在一起，產生悅耳的效果。

So let's just change that word there and these two words here and that word there.

是以，我們只需改動那裡的那個詞、這裡的這兩個詞和那裡的那個詞。

And there we have it.

就是這樣。

Color harmony, the combination of simultaneously displayed colors that produce a pleasing effect.

色彩和諧，同時顯示的色彩組合產生令人愉悅的效果。

To achieve color harmony, the first thing we have to do is overcome our limited acquaintance with color.

要實現色彩和諧，首先要克服我們對色彩的有限認識。

Everyone chime in now.

現在大家都來發言吧。

What color is this?

這是什麼顏色？

Red.

紅色

Excellent.

好極了

What color is this?

這是什麼顏色？

Blue.

藍色

Very good.

非常好

And this?

這個呢？

Green.

綠色

And this? Orange.

這個呢？ 橙色

Okay, that was tons of fun.

好吧，這真是太有趣了。

But sadly, understanding colors by their names is actually quite limiting.

但遺憾的是，通過顏色的名稱來理解顏色實際上是非常侷限的。

And to show that, I'm going to take this gray swatch of color and paint it into this Edgar Payne landscape.

為了展示這一點，我要把這塊灰色的色塊塗成埃德加-佩恩的風景畫。

And when I do that, something funny happens.

當我這樣做的時候，有趣的事情就會發生。

That gray suddenly looks a little orange.

灰色突然看起來有點橙色。

And when I bump up its value slightly so it fits here, it doesn't resemble orange at all.

而當我把它的值稍微調高一點，使它適合這裡時，它就完全不像橙色了。

And just for reference, that was the same gray.

僅供參考，那是同一種灰色。

I just changed the value.

我只是更改了數值。

So how does such a minuscule difference in the color picker result in such a massive difference in the painting?

那麼，拾色器中如此微小的差別是如何導致畫作產生如此巨大的差異的呢？

The reason is, grays communicate with each other.

原因是，灰人之間會相互交流。

You see, pure saturated colors like this have a very hard time communicating.

你看，像這樣純粹的飽和色很難溝通。

They feel more like a loud party where everyone's shouting.

它們給人的感覺更像是一個喧鬧的派對，每個人都在大喊大叫。

Here's another attempt at that painting, only this time with grayer versions of those colors.

下面是這幅畫的另一次嘗試，只是這次用了更灰的顏色。

I hope you can agree that this alone is producing a more harmonious effect.

我希望你們能同意，僅這一點就能產生更加和諧的效果。

But now I have to explain why that is.

但現在我必須解釋一下為什麼會這樣。

I need to come up with a cool image that everyone's going to remember.

我需要想出一個很酷的形象，讓所有人都記住。

That's it.

就是這樣。

We're right in sync with the new Star Wars film.

我們與新的《星球大戰》電影同步。

So let's take the Millennium Falcon.

就拿千年隼號來說吧。

But not just any Millennium Falcon.

但不是普通的千年隼。

This is the 2017 model with a color wheel on it.

這是 2017 款，上面有一個色輪。

That's awesome.

太棒了

And I'll need a captain for this example.

這個例子需要一名船長。

So I'll use Jar Jar B- I mean, Han Solo.

所以我要用 "加加-B"，我是說 "漢-索羅"。

Han Solo's job is to make sure that all these colors in the Rebel Alliance are communicating their plans to each other.

漢-索羅的工作就是確保叛軍聯盟中所有這些顏色的人都能互相傳達他們的計劃。

As we saw earlier, these colors are all shouting right now.

正如我們之前看到的，這些顏色現在都很流行。

And you can't command a Rebel ship with that kind of chaos.

在這種混亂的情況下，你是無法指揮叛軍戰艦的。

So what does Han Solo do?

那麼，韓-索羅是做什麼的呢？

He brings the colors in closer together so they don't have to shout anymore.

他把顏色拉近，這樣它們就不用再喊叫了。

When colors are less saturated like this, they begin to talk to each other.

當色彩的飽和度像這樣降低時，它們就會開始互相交流。

And as with any conversation, they gain a common ground.

就像任何對話一樣，他們獲得了共同點。

And what is that common ground?

共同點是什麼？

Well, as far as color harmony goes, it's that all the colors are now based on relative degrees of gray.

就色彩和諧而言，現在所有的顏色都是基於相對的灰度。

In this example, the colors are all at the same relative level of gray.

在此示例中，所有顏色的灰度級相對相同。

Maybe something like this on our Millennium Falcon.

也許我們的 "千年鷹 "上就有這樣的東西。

This is okay, but it doesn't have to be equal like this.

這沒關係，但不一定要這樣平等。

If I now did this and brought in some more saturated colors that are layered over top of those common grays, watch the transition as the saturated colors that were once too loud now carry real weight in this color conversation.

如果我現在這樣做，並在這些常見的灰色上疊加一些飽和度更高的色彩，那麼請注意這種過渡，因為飽和度高的色彩曾經過於喧鬧，而現在卻在這種色彩對話中佔據了真正的分量。

Here's that Joseph Zabuckvich painting again.

這又是約瑟夫-扎布克維奇的畫作。

And I specifically want to look at this area here.

我特別想看看這裡。

There's a very subtle conversation between oranges and blues that make up that wall.

橙色和藍色構成了這面牆，它們之間的對話非常微妙。

Now you might be saying, but Han, how did he pull that off?

現在你可能會說，可是 Han，他是怎麼做到的？

Orange and blue are at opposite ends of the color wheel.

橙色和藍色位於色輪的兩端。

Well, he started with an orangish color and probably used the force to bring it into about here.

好吧，他一開始用的是橘紅色，可能是用力量把它帶到了這裡。

And keep your eye up here too, as I plot these colors on the actual painting as well.

請留意這裡，因為我也在實際畫作上繪製了這些顏色。

Anyway, that first color choice you make is actually not that relevant yet.

總之，你做出的第一個顏色選擇其實還沒有那麼重要。

And that's because it's all alone.

這是因為它是孤獨的。

It's not talking to anybody.

它不跟任何人說話。

So let's invite other colors into the conversation.

是以，讓我們邀請其他顏色加入對話。

One thing you can do is add subtle variations on that color.

你可以做的一件事就是在這種顏色上添加微妙的變化。

This kind of gets the conversation started and it's pretty easy to do.

這樣就能開始對話，而且很容易做到。

This is a good start, but you might not want the color to only exist on one side of the color wheel like that.

這是一個良好的開端，但您可能不希望顏色只存在於色輪的一邊。

There's a lot of opportunity to carry the conversation into here.

我們有很多機會把話題帶到這裡。

And in my judgment, he brings in just two more colors to do it.

而根據我的判斷，他只需再引入兩種顏色就能做到這一點。

So watch the color wheel.

所以要注意色輪。

This color starts talking to the blues by moving towards them.

這種顏色開始與藍調對話，向藍調移動。

And then this color actually completes the journey into the blues.

然後，這種顏色實際上完成了藍調之旅。

Now to be sure, those are very gray colors, but this painting proves that our eyes are extremely sensitive to these subtle changes.

可以肯定的是，這些顏色非常灰暗，但這幅畫證明，我們的眼睛對這些微妙的變化非常敏感。

Let's now zoom back out and notice one more layer of color harmony.

現在，讓我們把視線拉遠，再看一層和諧的色彩。

He's accenting those grays by using very saturated versions of them in the boats below.

他在下面的船隻中使用了飽和度非常高的灰色，從而突出了這些灰色。

I think this is a brilliant move because now those colors are speaking to each other across multiple objects, the entire frame, and uses a wide variety of grays to really fill out the color conversation.

我認為這是一個絕妙的舉動，因為現在這些色彩在多個物體和整個畫面中相互對話，並使用各種灰色來真正填充色彩對話。

Now let's recall the Morgan Weisling painting.

現在讓我們回顧一下摩根-魏斯林的畫作。

Although this is painted in a different style and in a different medium, it builds its color harmony in just the same way.

雖然這幅畫的風格和媒介不同，但它以同樣的方式構建了色彩的和諧。

For instance, I'm sure your astute eyes can now detect that some of those bluish grays in the quilt are talking to those reds in the girl's dress.

例如，我相信你們敏銳的眼睛現在可以發現，被子中的一些藍灰色正在與女孩裙子上的紅色對話。

And looking back at our gray swatches, I think we can now appreciate what was happening here.

回過頭來看看我們的灰色色板，我想我們現在就能明白這裡發生了什麼。

The reason two similar grays can look so different is because they're having two different conversations.

兩種相似的灰色之所以看起來如此不同，是因為它們在進行兩種不同的對話。

The gray in the shadows that looks kind of orange looks that way because it was talking to blues.

陰影中的灰色看起來有點像橙色，因為它在和藍色對話。

The other gray looks almost bluish in its context because it was talking to these colors and well, it was the bluest part of that conversation.

另一種灰色在它的語境中看起來幾乎是偏藍的，因為它在與這些顏色對話，而且，它是對話中最藍的部分。

So I think we should give our two friends here a pass on their vague comments about color earlier.

是以，我認為我們應該原諒我們的兩位朋友之前對顏色的含糊其辭。

If anything, we should now have more of an appreciation for some of the esoteric imagery that painters tend to invoke when talking about color.

如果有的話，我們現在應該對畫家在談論色彩時往往會引用的一些深奧意象有了更多的瞭解。

This is one of my paintings that builds its color harmony using the same ideas we just saw in part one.

這是我的一幅畫作，它使用了我們在第一部分中看到的相同理念來構建色彩的和諧。

And I'm going to recreate it now to demonstrate how I go about building these color harmonies from scratch.

現在，我將重現它，展示我是如何從頭開始構建這些色彩和諧的。

Oh, and Han Solo is here too to provide a live update tracking of my palette as I go.

哦，韓-索羅也來了，他將實時跟蹤我的調色板。

The first thing I noticed is that this all happens in kind of a fluid motion.

我注意到的第一件事是，這一切都發生在一種流動的運動中。

It's not like part one where I could break down certain parts of the painting and isolate it.

它不像第一部分那樣，我可以分解畫作的某些部分並將其分離出來。

You'll notice when I paint this, I try and rough out very quickly some grays and some colors across the whole canvas to kind of see what conversations are starting.

你會注意到，當我畫這幅畫時，我會嘗試快速地在整個畫布上粗略地勾勒出一些灰色和一些顏色，以便了解對話的開始。

And then as a painter, I can sift through them and choose which ones I want to nurture and which ones I don't want at all.

然後，作為畫家，我可以對它們進行篩選，選擇哪些是我想培養的，哪些是我根本不想要的。

And this is why I'm not showing you the color picker, because as we also saw in part one, the same color can look radically different based on the area of the painting that it's in.

這就是為什麼我不向你展示拾色器的原因，因為正如我們在第一部分中看到的那樣，同一種顏色在不同的繪畫區域會有截然不同的效果。

So for that reason, it's way more important to use your eyes and trust your eyes rather than some digital readout.

是以，使用眼睛和相信自己的眼睛比使用數字讀數更重要。

One of the stronger colors in this painting is that turquoise color.

這幅畫中最強烈的顏色之一就是綠松石色。

And you notice what I'm trying to do is I'm trying to carry it from the sky in the background into the monster's head and even into the bridge.

你會注意到，我試圖把背景中的天空帶入怪物的頭部，甚至橋上。

And it kind of gets grayer with each successive step.

而且每走一步都會變得更灰暗。

So it's my way of doing what Zabuckvich did earlier, carrying a color through the painting.

是以，我用這種方式來完成扎布克維奇之前所做的工作，讓色彩貫穿整幅畫作。

It kind of reminds me of how musicians can have variations on a theme as a way of tying a piece of music together.

這讓我想起了音樂家如何通過主題變奏來串聯一首樂曲。

In a painting, it's variations on a certain color passing through various levels of gray.

在繪畫中，它是某種顏色經過不同層次灰色的變化。

And what that does is it just has this unifying, harmonizing effect.

這就產生了一種統一、和諧的效果。

Now, this is not a formula because every painting will require different colors, different palettes, different levels of gray.

現在，這不是一個公式，因為每幅畫都需要不同的顏色、不同的調色板和不同的灰度。

So this is just a broad concept that might help you really enhance your picture's impact with color.

是以，這只是一個寬泛的概念，也許能幫你真正用色彩增強照片的感染力。

And I'd just like to reiterate a message from part one.

我只想重申第一部分的一條資訊。

The reason this painting looks colorful is not because there's a lot of saturated colors in it.

這幅畫之所以看起來色彩斑斕，並不是因為飽和度高。

There are some, but what's really happening is I've set the scene with like a murmur of conversation with multiple grays.

有一些，但真正的情況是，我已經設置了一個場景，就像與多個灰色人交談的雜音。

And then what I can do based on my own artistic aesthetic is I can choose which of those colors I want to take all the way to like full saturation.

然後，我可以根據自己的藝術審美觀來選擇我想要的顏色，比如完全飽和的顏色。

So in this case, I've chosen that turquoise color to be the most saturated color, followed by some of those greens, and then maybe the yellow would be third.

是以，在這種情況下，我選擇了綠松石色作為飽和度最高的顏色，其次是一些綠色，第三種可能是黃色。

The other colors in the painting, the oranges, the purples, for example, they exist in grayer And of course, when I say that, I mean relative degrees of gray, as we've seen.

畫中的其他顏色，例如橙色、紫色，它們的顏色都比較灰暗，當然，我說的灰暗是指相對灰暗的程度，正如我們所見。

And just one last note on process.

最後再提一下程序問題。

I find that starting in color rather than black and white really allows you to embed and build and discover your color harmony as you're also building your shapes and values and edges.

我發現，從彩色而非黑白開始創作，確實能讓你在塑造形狀、價值和邊緣的同時，嵌入、構建和發現色彩的和諧。

Giving your colors time to play out like that, just like a real conversation, is a great way to find all the nuances and ultimately come out with the strongest possible meaning.

就像真正的對話一樣，給你的色彩一些時間來演繹，是發現所有細微差別並最終得出最強烈含義的好方法。

I love color, but if I were asked to make a list of painting fundamentals in order of importance, that list might look something like this.

我喜歡色彩，但如果讓我按照重要程度列出一份繪畫基礎知識清單，這份清單可能會是這樣的。

The big number one, drawing.

最重要的第一項，繪圖。

You can only paint as well as you can draw.

只有畫得好，才能畫得好。

You can refer to episode four of this series for some insight into drawing good shapes.

您可以參考本系列的第四集，瞭解如何畫出好的形狀。

Number two, actually, this should be number 1.5, values.

第二項，實際上應該是第 1.5 項，數值。

These two things really go hand in hand, and I will do a future episode on values.

這兩件事其實是相輔相成的，我將在今後的節目中介紹價值觀。

Number two is edges, and we talked about those in episode three of this series.

第二點是邊緣，我們在本系列的第三集中談到了這一點。

Now you might be like, hey, you didn't leave any room for color.

現在你可能會說，嘿，你沒有給色彩留下任何空間。

Well, to me, color fits like this.

在我看來，顏色可以這樣搭配。

And that's because color doesn't carry the same kind of load that drawing values and edges do.

這是因為色彩並不像繪製數值和邊緣那樣負擔沉重。

Color is the subjective part of painting that, in my opinion, is best when it's enriching a picture that already works.

在我看來，色彩是繪畫的主觀部分，當它豐富了一幅已經成功的畫作時，色彩的作用就發揮得淋漓盡致。

And I hope this lesson has given you some concepts to explore in your journeys around the color wheel.

我希望這節課能給你帶來一些概念，讓你在色輪之旅中有所探索。

You know, speaking of round, have you guys heard this crazy internet theory that the color wheel isn't actually round, but flat?

說到 "圓"，你們聽說過網上有一種瘋狂的理論，說色盤其實不是圓的，而是扁的？

I mean, come on, give me a break.

我的意思是，拜託，讓我休息一下。

Evidence of a round color wheel is everywhere.

圓形色輪的證據隨處可見。

I mean, even industry-leading graphics software, Adobe Photoshop, agrees the color wheel is round.

我的意思是，就連業界領先的圖形軟件 Adobe Photoshop 也認為色輪是圓形的。

Yeah.

是啊

Yeah.

是啊

Yeah.

是啊