Name: 色彩筆記 - 10 分鐘讓繪畫更出色 - 第 7 集 (Colour Notes - 10 Minutes To Better Painting - Episode 7)
Uploaded: 2025-04-02T09:15:31.000Z
Duration: 10 min 28 s

Break out your pocket watch and your paintbrushes, it's time for Episode 7 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 7 集的時間。

情態副詞

I am your dubiously credentialed host, Marco Bucci.

Thompson said, life has become immeasurably better since I have been forced to stop taking it seriously.

湯普森說，自從我被迫不再把它當回事後，生活變得無比美好。

This episode is about color notes, which falls under the category of taste.

本集的主題是色彩筆記，屬於品味的範疇。

It can be difficult to craft a lesson around taste, but bear with me.

要圍繞味道來上一堂課可能很難，但請聽我慢慢道來。

Here's some work by Richard Schmid, a painter known for expressive color.

下面是以色彩表現力著稱的畫家理查德-施密德（Richard Schmid）的作品。

Look at any of these paintings up close, and you'll find that the objects are made of not flat colors, but a whole array of color.

近距離觀察這些畫作，你會發現這些物體不是由平面色彩構成的，而是由各種色彩構成的。

Color notes can help your paintings gain an extra layer of life.

色彩註釋能讓你的畫作多一層生命力。

As is so often the case with art, life comes through variety.

藝術往往就是這樣，通過多樣性來體現生活。

Here's the original painting, and here's a version where the color notes have been removed.

這是原畫，這是去掉顏色註釋的版本。

There's nothing wrong with either of these, but if you ask me, the color notes help elevate a picture to painterly heights.

這兩種方法都沒有錯，但如果你問我，色彩說明有助於將畫面提升到繪畫的高度。

These colors just have an attraction to each other, like positively charged ions, negatively charged ions?

這些顏色只是相互吸引，就像帶正電的離子和帶負電的離子？

The idea is you start with a flat color, and you introduce variations on it.

這種設計的理念是，從一種平面色彩開始，在此基礎上引入各種變化。

Keeping your values close and your edges soft helps the effect stay together.

數值要接近，邊緣要柔和，這樣才能保持整體效果。

If I tried it with hard edges and contrasty values, it doesn't look so good.

如果我嘗試使用硬邊緣和對比度值，效果就沒那麼好了。

Also, by allowing the original color to dominate, we can still tell what local color the object is.

此外，通過讓原始顏色占主導地位，我們仍然可以分辨出物體的局部顏色。

Alright, let's investigate some of the actual mechanics behind these color notes.

好了，讓我們來研究一下這些顏色筆記背後的實際機制。

Here's a sampling of the original yellowy-greenish base color, and here's a note of purple.

這裡是黃綠色的原底色，這裡是紫色。

Now, to get from one color to the other using the hue strip, I have to slide from here all the way up to here.

現在，要使用色調條從一種顏色切換到另一種顏色，我必須從這裡一直滑到這裡。

That makes it appear that there's this huge chasm between the two colors, and you might be timid about making such a big move.

這讓人覺得這兩種顏色之間存在著巨大的鴻溝，你可能會對做出如此大的舉動感到膽怯。

But actually, the distance between these two colors is not that great.

但實際上，這兩種顏色之間的距離並不大。

In episode 5, I talked about how color harmony can be based on grays, and color notes directly applies this theory.

在第 5 集裡，我談到了色彩和諧如何以灰色為基礎，而色彩筆記則直接應用了這一理論。

If we completely desaturated both of those, the resulting color is identical, even though there are two different hues.

如果我們將這兩種顏色完全去飽和，雖然有兩種不同的色調，但產生的顏色是相同的。

So allow me to offer you a different way of looking at the color space.

是以，請允許我為您提供一種看待色彩空間的不同方法。

We have our two colors, and let's flip one of these boxes around.

我們有兩種顏色，現在把其中一個盒子翻過來。

在這種配置下，我們可以加入它們。

And now, through the gray, we can link any two colors we want.

現在，通過灰色，我們可以將任意兩種顏色連接起來。

But, before you get all excited, there are still some questions that need answers.

不過，在你興奮之前，還有一些問題需要解答。

For example, how can we keep these color notes organized?

例如，如何將這些顏色筆記整理好？

Just how far can you stretch this whole gray thing?

你能把整個灰色的東西延伸多遠？

How can you trust your own taste enough to know what looks right?

你怎麼能相信自己的品味，知道什麼才是正確的？

You know, like, what matters and what doesn't?

你知道，什麼是重要的，什麼是不重要的？

這就是我需要一個好比喻的地方。

I went wine tasting in France this year, and my wine educator taught me that the drinking was step 3 of a 3-step process.

今年我去法國品酒，我的葡萄酒教育家告訴我，喝酒是三步曲中的第三步。

The drinking is where you apply your taste, there's no right or wrong, you just go with your fancy, and you like what you like.

飲酒是你發揮品味的地方，沒有對錯之分，你只需隨心所欲，喜歡什麼就喝什麼。

But, to inform your whims, the first two steps were all about gathering context.

不過，為了滿足你的奇思妙想，前兩個步驟都是為了收集背景資料。

For instance, the color and opacity of the wine can give you clues as to its structure, like its approximate age, the type of grape, you know, useful information to have if you're serious about wine.

例如，葡萄酒的顏色和不透明度可以為您提供有關其結構的線索，如大致的年齡、葡萄的類型，您知道，如果您認真對待葡萄酒，這些都是有用的資訊。

In painting, it's values that give you your structure.

在繪畫中，是價值觀給了你結構。

Notice that most of those color changes are just not evident in a value study.

請注意，大部分顏色變化在數值研究中並不明顯。

Don't fall into the trap of thinking that a variety of color means changing your values sporadically.

不要陷入一個陷阱，以為色彩的多樣性意味著你的價值觀的零星變化。

No, it's a simple value structure that gives you the leeway to be more playful with color.

不，它是一種簡單的數值結構，讓你在色彩方面有更多發揮的餘地。

And as you can see, Richard Schmid in grayscale agrees.

正如你所看到的，灰度的理查德-施密德也同意這一點。

Okay, back to our list here, which I've updated for our purposes.

好了，回到我們的清單，為了我們的目的，我已經更新了清單。

This is when you start to gather information about little flavors it might have.

這時，你就可以開始收集有關它可能具有的小味道的資訊了。

I feel like this is similar to the overall temperature of a light source.

我覺得這類似於光源的整體溫度。

Here are some common light sources on the degrees Kelvin scale.

下面是一些常見光源的開氏度表。

But you know, forget about degrees Kelvin.

What matters is that different light sources give you different starting points from which to explore color.

重要的是，不同的光源為您提供了不同的色彩探索起點。

For example, in the context of sunset light, your starting point might be way over here.

例如，在拍攝日落光線時，您的起點可能在這裡。

But you aren't just stuck in that one spot.

但你並不只是被困在那個地方。

You're free to do little hue shifts to neighboring colors.

你可以自由地對鄰近的顏色進行色調微調。

And when you do these little neighboring moves, I find you can often keep a similar saturation.

當你做這些鄰近的小動作時，我發現你往往能保持相似的飽和度。

You could also venture toward the gray, pick up a few color notes as you do, and pop out into the blues.

你也可以大膽地嘗試灰色，在嘗試的過程中拾取一些色彩筆記，然後跳出藍調。

These grays by themselves are a little coolish for sunset.

對於日落來說，這些灰色本身就有點偏冷。

But because they're linked to those initial warms, they can really work as accent notes.

但由於它們與最初的暖色調相關聯，是以可以真正起到重音的作用。

However, if you were to forsake that connection and venture too far, your painting will look less like color notes and more like a color cacophony.

但是，如果你放棄了這種聯繫，走得太遠，你的畫看起來就不像是色彩的音符，而更像是色彩的雜音。

A more neutral light source will have a more neutral starting point, perhaps allowing this kind of exploration.

一個更中性的光源會有一個更中性的起點，也許可以進行這樣的探索。

So armed with context, we can finally indulge in the wine.

有了背景資料，我們終於可以盡情享受美酒了。

Hey, no hard feelings from that last episode.

While the intern is drinking delicious wine, let's look at the delicious notes in this Xiao Ming Wu sunset painting.

當實習生喝著美味的葡萄酒時，讓我們來看看這幅肖明武夕陽畫中的美味音符。

The sunset colors are rooted in saturated reds and equally saturated neighboring colors.

夕陽的色彩源於飽和的紅色和同樣飽和的鄰近色彩。

A little further back, he moves toward the gray, exploring notes in this range.

再往後一點，他向灰色方向移動，探索這一音域的音符。

And in the very back, he continues that trajectory, finding gray notes that work in context with the warms up front.

而在後部，他延續了這一軌跡，找到了與前部暖色調相呼應的灰色音符。

The shadows receive their illumination from the environment's ambient light.

And the color notes here follow a similar path, only in a totally different area of the color wheel.

這裡的色彩註釋也遵循著類似的路徑，只是在色輪的一個完全不同的區域。

Color notes can come in endless combinations, so it's up to you to explore and find what suits your taste.

色調可以有無窮無盡的組合，是以您可以自行探索，找到適合自己口味的色調。

And just remember, if you ever get stuck, you can always go back to steps one and two.

記住，如果你遇到困難，可以隨時回到第一步和第二步。

Stumbling is another way to find color notes.

磕磕絆絆也是尋找顏色筆記的另一種方法。

So long as your context is well understood, your stumbling will be contained and all kinds of color relationships can happen this way.

只要你能很好地理解語境，你的磕磕絆絆就會得到控制，各種色彩關係都可以通過這種方式發生。

Who would have known that being impaired could possibly help art?

誰能想到，身體受損也能幫助藝術創作？

Well, switch to water, everyone, because we're headed to part two.

好了，大家換水吧，因為我們要開始第二部分了。

Let's do a little color study of part of that Richard Schmid painting.

讓我們對理查德-施密德（Richard Schmid）畫作的一部分進行色彩研究。

My intention here is not to do an exact copy, rather put my focus on building similar color notes.

在這裡，我的意圖並不是要完全複製，而是把重點放在建立類似的色彩筆記上。

I'm starting, of course, with a basic value pattern, not thinking about color just yet.

當然，我是從基本的數值模式開始的，還沒有考慮顏色。

The structure needs to be there before I can build on it.

在我進行建設之前，結構必須存在。

So here I'm just tinting the canvas to give me something to work out of.

所以在這裡，我只是給畫布上色，讓我有東西可畫。

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色彩筆記 - 10 分鐘讓繪畫更出色 - 第 7 集 (Colour Notes - 10 Minutes To Better Painting - Episode 7)

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