Name: 藝術改良 - 10 分鐘提高繪畫水準 - 第 8 集 (Art Improvement - 10 Minutes To Better Painting - Episode 8)
Uploaded: 2025-04-02T09:16:05.000Z
Duration: 10 min 27 s

Break out your pocket watch and your paintbrushes.

It's time for episode eight of 10 Minutes to Better Painting.

現在是《10 分鐘改善繪畫》第八集的時間。

情態副詞

I am your ethically questionable host, Marco Bucci.

我是你們道德上有問題的主持人，馬可-布奇。

Champion boxer Chris Eubanks Sr. said, there is a simple explanation when one moves aside all the things that distract from the point.

拳擊冠軍老克里斯-尤班克斯（Chris Eubanks Sr.）說過，當我們拋開所有分散注意力的東西時，就會得到一個簡單的解釋。

This episode is about art improvement, which falls under the category of study.

本期節目的主題是 "藝術提升"，屬於 "學習 "的範疇。

You know, the intern and I, we have, okay, we've put together many different things for you to study.

你知道，實習生和我，我們已經，好吧，我們已經把許多不同的東西放在一起，供你學習。

Each episode gives you a single thing that can improve your paintings.

每一集都會給你一件可以改善你繪畫的事情。

Today, we'll take the next step and look at a picture using not one lesson, not two lessons, but every lesson.

今天，我們將更進一步，不是用一課，不是用兩課，而是用每一課來看一幅圖畫。

Ah, Venice, so much potential for painting.

啊，威尼斯，繪畫的潛力如此之大。

Our episode wheel here will keep track of which lesson I'm pulling from and in turn, wheel us to episode two.

我們的 "劇集轉盤 "會記錄下我從哪一課開始，然後把我們帶到第二集。

In episode two, we looked at ideas for clear visual communication.

在第二集中，我們探討了清晰視覺傳達的理念。

I'm seeing an opportunity here for a C curve, a simple directional path that can curate this composition.

我在這裡看到了一個 C 曲線的機會，一條簡單的方向性路徑，可以策劃出這樣的構圖。

It leads us through all the major elements and arrives at a focal point, which I think can be these structures up here.

它引導我們穿過所有主要元素，到達一個焦點，我認為可以是這裡的這些結構。

I'm choosing them as my focal point because there are three types of contrast at play there.

我之所以選擇它們作為焦點，是因為這裡有三種對比效果。

First, most of the picture is rectangular shapes, making these round shapes feel special.

首先，畫面的大部分都是長方形，讓人感覺這些圓形很特別。

Second, a contrast of busyness, lots of busyness here with less busyness up here.

其次是忙碌的對比，這裡的忙碌多，而這裡的忙碌少。

And finally, it's an area of clear value contrast.

最後，這是一個價值對比明顯的領域。

These structures silhouetting against the sky.

Your focal point is a kind of payoff element and a path can lead the viewer to it.

你的焦點是一種回報元素，一條路徑可以引導觀眾找到它。

Here's Joseph Zabuckvich doing the same thing in this painting.

約瑟夫-扎布克維奇在這幅畫中也做了同樣的事情。

This time it's a single point from which paths emanate and take us through the composition.

這一次，它是一個單一的點，從這個點發出的路徑帶我們穿越整個構圖。

Zabuckvich also pays off the image with a high contrast focal point.

Zabuckvich 還用一個高對比度的焦點為畫面增色不少。

Anyway, Joseph Zabuckvich is using the same language here as I am here.

總之，約瑟夫-扎布克維奇在這裡使用的語言和我在這裡使用的語言是一樣的。

We're just rearranging the words for different meanings.

我們只是在重新排列詞語，以表達不同的含義。

And I'll probably crop this to make sure my delivery is clear.

我可能會裁剪一下，以確保表達清晰。

Of course, I can still borrow elements where I need them.

當然，我還可以在需要的地方借用元素。

All right, intern, wheel to episode one, please.

好了，實習生，請轉到第一集。

In episode one, we talked about simplification.

在第一集中，我們談到了簡化。

Venice, like many things in real life, is beautiful, but also absolutely assaults you with information.

威尼斯就像現實生活中的許多事物一樣，美輪美奐，但信息量也絕對驚人。

Everywhere you look, shapes that demand attention.

I want the most attention to be directed at my focal point, not this tangle of stuff.

我想讓最多的注意力集中在我的焦點上，而不是這些亂七八糟的東西。

So I'll do a quick pass with my special merging shapes brush.

是以，我將用我的特殊合併形狀筆刷進行快速處理。

And we're left with something that still delivers all those docks, boats, and reflections, but in a way that's less incidental and more digestible.

現在，我們看到的仍然是那些碼頭、船隻和倒影，但卻少了一些偶然性，更易於消化。

For instance, in this one area, the original had 1, 2, 3, 4, 5, 6, 7, 8, 9 shapes.

例如，在這個區域，原來有 1、2、3、4、5、6、7、8、9 個形狀。

Such a minor area, I don't think needs nine shapes.

這樣一個小領域，我認為不需要九種形狀。

我想我可以在一個形狀中完成它。

Also keep in mind, you can merge together entire objects too.

此外，您還可以將整個對象合併在一起。

Instead of showing the complete silhouette of every post here, I'll go the opposite way and kind of melt them all together.

與其在這裡展示每個帖子的完整剪影，不如反其道而行之，把它們融為一體。

The shapes that break up that meltiness give you the necessary clues to solve this area.

打破這種融化狀態的形狀為您提供瞭解決這一問題的必要線索。

It's fun to paint, and it's like a mini-mystery that engages the audience, and allows for a more active viewing experience.

這幅畫很有趣，就像一個小型謎團，吸引著觀眾，讓他們有更積極的觀賞體驗。

太棒了，又是一條 YouTube 評論。

I have no idea what you're talking about.

Episode 3 was about varieties of edge, taking different shapes and values and softening them to various degrees.

第 3 集的主題是邊緣的多樣性，採用不同的形狀和價值，並對其進行不同程度的柔化。

Different edges make for different visual interactions.

不同的邊緣會產生不同的視覺互動。

We just looked at some of the benefits of the lost edge, so now let's look at its opposite, the hard edge.

我們剛剛瞭解了 "失邊 "的一些好處，現在讓我們來看看它的反面--"硬邊"。

Where lost edges create alluring mystery, hard edges make for clear readability, and you can use them together.

迷失的邊緣營造出誘人的神祕感，而硬邊則讓人一目瞭然，而且可以同時使用。

Anders Zorn is using lost edges here to merge the darks into nearly a single shape.

安德斯-佐恩（Anders Zorn）在這裡使用了 "失邊"（lost edges）技術，將暗部融合成近乎單一的形狀。

Meanwhile, the hands, beard, and highlights on the glass, as well as this part of the silhouette, draw attention with relatively harder edges.

同時，手、鬍子、玻璃上的亮點以及輪廓的這一部分，都以相對較硬的邊緣吸引人的注意。

And you don't even need a fancy brush to do this.

你甚至不需要花哨的刷子就能做到這一點。

Those edges are so sharp you can cut yourself.

這些邊緣非常鋒利，你可能會割傷自己。

If I just compress the value range, the whole thing looks, or perhaps feels, softer, despite the physical edges being unchanged.

如果我只是壓縮數值範圍，儘管物理邊緣沒有變化，但整個畫面看起來，或者說感覺上會更柔和。

And here's Walter Everett putting this into practice.

沃爾特-埃弗雷特就是這樣實踐的。

The figures feel sharper than their surroundings, not because of brushwork.

人物形象比周圍環境更鮮明，這並不是因為筆觸的原因。

So I'll plan to use a combination of these techniques in my Venice painting.

是以，我計劃在威尼斯的繪畫中綜合運用這些技法。

I really enjoy working with soft and lost edges.

They just give you a... uh... what's a good way of saying it?

他們只是給你......呃......怎麼說比較好呢？

Soft and lost edges, then, provide easier passage through areas of a picture.

是以，柔和而模糊的邊緣能讓人更容易通過畫面的各個區域。

Episode 4 talked about how paintings are made of many shapes.

第 4 集講述了繪畫是如何由多種形狀組成的。

To have a painting that reads clearly, each little shape should be as readable as possible.

要想畫得清晰易讀，每個小圖形都應儘可能清晰易讀。

These shapes look like the result of accident, rather than intention.

這些形狀看起來像是意外的結果，而不是有意為之。

They're prone to become muddled, and are less quickly readable.

它們容易變得混淆不清，閱讀速度也較慢。

A better home for those shapes might be- yeah.

對這些形狀來說，更好的歸宿可能是--是的。

So what I do is kind of think about where a shape is headed, and then design it the rest of the way there.

是以，我所做的就是思考一個形狀的走向，然後設計它的其餘部分。

Well-designed shapes will stay quickly readable, even when shrunk way down.

經過精心設計的圖形，即使大幅縮小，也能保持快速可讀性。

So with our Venice scene, not only do I want the overall shapes to be well-designed, but I will apply that scrutiny to each tiny shape as well.

是以，在我們的威尼斯場景中，我不僅希望整體造型經過精心設計，還希望每一個細小的造型都能得到仔細觀察。

They can't do the work alone, but together, are able to achieve something complex.

他們無法單獨完成工作，但卻能共同完成複雜的任務。

Also, check for some variety in the negative spaces.

此外，還要注意負空間的多樣性。

Variety is usually more interesting than repetition.

In fact, variety is at the heart of so many of these lessons.

事實上，多樣性是許多課程的核心。

It just seems to be one of those basic human- Okay, that does it.

這似乎是人類最基本的--好吧，就這樣吧。

So let's put some color to this, using episode 5's color wheel to chart the progress.

是以，讓我們用第 5 集的 "色輪 "來繪製進展圖，為這一切增添一些色彩。

字幕列表影片播放

藝術改良 - 10 分鐘提高繪畫水準 - 第 8 集 (Art Improvement - 10 Minutes To Better Painting - Episode 8)

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