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。

Let's dive right into the lesson.

讓我們直接進入課程。

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。

You guys remember Episode 4, right?

你們還記得第 4 集吧？

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。

So let's arrange a quick still life.

那麼，讓我們來安排一個簡單的靜物吧。

How about a ball sitting on a floor?

把球放在地板上怎麼樣？

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。

Hey, go grab me a coffee, would you?

嘿，去給我買杯咖啡，好嗎？

Make it quick, I'm dying here.

快點，我快死了。

I love interns.

我喜歡實習生。

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。

First, see all those polygons?

首先，看到那些多邊形了嗎？

Those are called planes.

這些被稱為飛機。

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？

Oh, do you?

哦，是嗎？

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？

Get your tapping fingers ready.

準備好你的手指吧

Here's question one.

問題一

Shadow values are what than light values?

陰影值比光照值高多少？

Okay, let's tally the answers.

好，我們來統計一下答案。

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。

But now, question two.

現在是第二個問題。

Generally, light travels in blank lines.

一般來說，光線是沿空白線傳播的。

I know you feel this.

我知道你有這種感覺。

Let's see what you got.

讓我們看看你有什麼本事。

That's right.

這就對了。

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。

Okay, this one's for all the marbles.

好吧，這顆是所有彈珠的。

How many types of shadow are there?

影子有幾種類型？

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

I'm still looking for sponsors.

我還在尋找贊助商。

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。

And this Sargent painting has both.

而這幅薩金特的畫作兩者兼備。

These are two shapes of cast shadow.

這是兩種投影形狀。

Cast shadows happen where the light is blocked.

當光線被遮擋時，就會產生陰影。

Let's look at the nose.

讓我們看看鼻子。

Light is coming in from this direction.

光線正從這個方向照射進來。

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.

記住，我只使用三個值。

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。

This row of planes is tricky.

這一排飛機很棘手。

Are they pointing upwards or not?

它們是否朝上？

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。

But high contrast isn't always required.

但並非總是需要高對比度。

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。

This value is called, halftone.

該值稱為半色調。

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.

這些數值徘徊在灰度範圍內。

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。

So watch the painting.

所以，看畫吧。

Here are some halftone planes.

下面是一些半色調飛機。

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。

Using something like this as reference, you can move beyond a simple sphere and try to recreate different lighting situations on the head from your imagination.

有了這樣的參照物，你就可以不侷限於簡單的球形，而是根據自己的想象力，嘗試在頭上重現不同的光照情況。

With enough practice, you'll find you can say a whole lot with these three simple values.

只要多加練習，你就會發現用這三個簡單的值就能表達很多意思。

And the simpler you say it, August Wilson, you got it.

你說得越簡單，奧古斯特-威爾遜，你就越明白。

Well, that's the end of part one, except something feels incomplete.

好了，第一部分到此結束，只是感覺還有些不完整。

What could it...

它能...

Oh yeah, where's the unpaid intern with my coffee?

對了，那個給我咖啡的無薪實習生呢？

So here's a photograph of me, actually, looking seven years younger, and I want to show you how you can take this lesson and apply it to studying from a photograph.

這是我的一張照片，實際上，我看起來年輕了七歲，我想告訴你如何把這一課應用到照片的學習中。

I'll be looking at the probably hundreds of values that exist in that picture and reducing them to just three.

我將查看這張照片中可能存在的數百個值，並將它們簡化為三個。

That means I'll be losing a lot of information here.

這意味著我將失去很多資訊。

Real life has more than three values, but a big part of a painter's discipline is the idea of simplification, getting down to the bare bones of what makes form and light work.

現實生活中的價值不只三種，但畫家的一大修養就是簡化的理念，深入到形式和光線的本質。

So using a fully detailed photo and simplifying it is a great way to build that discipline.

是以，使用一張完整詳細的照片並將其簡化，是建立這種紀律的好方法。

One of the benefits of having only three values to work with is you can actually begin to draw with paint.

只有三種顏料的好處之一是，你可以真正開始用顏料作畫。

You probably noticed I didn't start with a line drawing.

你可能注意到了，我並沒有從線描開始。

I went straight in there with my three values, and I'm currently moving them around, painting over them, adjusting my shapes as I search for that clear form and light.

我直接用我的三個數值進行創作，現在我正在移動它們，在它們上面作畫，在尋找清晰的形狀和光線時調整我的形狀。

Now my goal here is not a portrait likeness.

現在，我的目標不是肖像逼真。

I'm not trying to copy the photo.

我不是要複製照片。

It'll end up looking something like the photo, but more than anything else, what I'm going for is an overall statement of how this series of planes is interacting with the light source.

最終的效果會和照片一樣，但我更想表達的是這一系列平面與光源之間的整體互動。

So when you do studies like this, you're practicing both your lighting and your drawing.

是以，當你做這樣的研究時，你既是在練習照明，也是在練習繪畫。

Even though I did not do a line drawing, I'm still drawing shapes.

雖然我沒有畫線條，但我還是在畫形狀。

They're just shapes of value.

它們只是有價值的形狀。

Making good shapes is critical, so I'm constantly refining them.

做出好的形狀至關重要，所以我一直在不斷改進。

You know, I'm not trying to get them right the first time.

你知道，我並不想第一次就把它們做對。

I'll be the first to admit that I never get my shapes right the first time.

我會第一個承認，我從來沒有第一次就把形狀做對過。

But a big part of studying is putting something down, seeing where it's off, and then adjusting it.

但是，學習的很大一部分就是寫下一些東西，看看哪裡有偏差，然後進行調整。

And having only three values to choose from is kind of like a life preserver that keeps your head always above water instead of drowning in the sea of hundreds of possible values.

只有三個值可供選擇，就像一個救生圈，讓你的頭始終保持在水面上，而不是淹沒在數百個可能值的海洋中。

I want to mention one more important thing, and that is I'm using edges in this demonstration.

我還想提一件重要的事，那就是我在這個演示中使用了邊緣。

We talked about edges in episode three of this series, and I'm using them here to soften the transition between values and shapes.

我們在本系列的第三集中談到了邊緣，我在這裡使用它們來緩和數值和形狀之間的過渡。

In part one of this lesson, I did not consider edges.

在本課的第一部分，我沒有考慮到邊緣。

Everything was kept razor sharp.

一切都保持鋒利。

But in practice, it's nice to combine these fundamentals, because after all, that's what they're made for.

但在實踐中，把這些基本要素結合起來是很好的，因為畢竟這就是它們的用途。

And the nice thing is, whether you're working from photos, from life, or even from your imagination, you can use this same approach.

最棒的是，無論你是根據照片、生活還是想象來創作，都可以使用同樣的方法。

You know, I wouldn't blame you if right now you're wondering to yourself, Are three values really enough to make an impact?

如果你現在在想：三個價值觀真的足以產生影響嗎？

That's a fair question.

這是一個公平的問題。

And in response, I'd like you to consider this familiar piece of music.

作為迴應，我希望你們能考慮一下這首耳熟能詳的樂曲。

A statement made with minimal means can still make a powerful impact.

用最少的錢發表聲明，也能產生強大的影響。

As far as light and shadows concerned, you can use these three values to make a complete statement, or you can use them as the basis for something more complex.

就光影而言，你可以用這三個值來做一個完整的陳述，也可以用它們作為更復雜的東西的基礎。

Remember that good painting, like any form of communication, is based on solid structure, and that's what we're pursuing here.

請記住，好的繪畫和任何形式的交流一樣，都是以堅實的結構為基礎的，而這正是我們在這裡所追求的。

So I hope you enjoyed this episode, and...

希望你們喜歡這一集，還有...

Uh, what took you so long?

怎麼這麼久才來？

Show's over.

表演結束了

Hire an intern to help with the show, and whoa, I get the one guy who can't even deliver coffee.

僱個實習生來幫忙做節目，哇哦，我得到了一個連送咖啡都不會的傢伙。

And now you probably expect me to write you a letter of recommendation for a job at an animation studio.

現在你可能希望我給你寫一封推薦信，讓你去動畫工作室工作。

Well, I don't think so.

我不這麼認為。