在漫画艺术中 就像这幅由大卫芬奇创作的图片 In comic art like this image by wonderful David Finch.
你可以看到它真的是价值 You can see it really is to values,
或者当它被涂上时 这是两个值 or this would be two values when it is inked.
如果你对形状很聪明 你可以做一些不可思议的事情 so you can do incredible amazing things if you're very smart about shape,
这都是关于形状的 and this is all about shape.
真的没有价值 There really is no value,
唯一的值是交叉线的抖动 and the only value there is is a dithering of cross hatching,
这就是为什么我想让他到侧边栏来的原因 which is originally why I wanted to him to come over here to the sidebar.
如果这是平的 那是平的 This idea that if this is flat and that is flat,
现在 它读出了一个单独的光和暗的形状 it now reads a separate light and dark shapes.
你有一个头脑 You have a head there.
但是大部分的信息在哪里呢 But where is most of the information?
相比之下 In contrast,
最宽的交叉线 widest cross hatching work?
嗯 Well,
如果我们看看原始的听众 if we look at the original hearer.
你可以看到有多少对比 半色调的光几乎没有击中表面 You can see how much contrast there is where the light in half tone is barely hitting the surface,
在这里 它更平坦 and here where it's much much flatter.
你可以在绘画中看到光和暗的信息 You see this all the time in painting where the light and dark information,
形成对比的是 the contrast is held,
生活与阴影相遇的地方 where life meets shadow.
让我们看一下这个图像 Let's look at this image.
我想当可能是丹尼斯 邦克或者尼克的同代人 Says I think when it might have been Denis bunker or of Sergeant Nick contemporaries,
在这一点上的对比是多么的少 how little contrast there is in the lit side of this.
但是当事情开始变的时候 But where things start to turn away,
还有很多 there is a lot more.
看看这个 look at this.
这个 This,
我想 I think,
很清楚地展示了光线从一个低角度穿过一个表面 shows it quite clearly where the light is coming across a surface at a low angle,
你开始得到解脱 你开始得到更大范围的价值和形状的对比 并出现 you start to get relief and you start to get much greater range of values and contrast in shapes and appear.
它被炸得太大了 It's rather blown out.
搜索总是对他的学生大喊大叫 告诉他们在收到你的另一半的时候夸大了价值 你会称汉普顿是光明面的价值观 Searching was always yelling at his students about overstating values in the lit side of receiving your half tens you would call the Hamptons would be the values in the lit side.
所以你必须要注意这意味着这里有很多信息 So you really have to keep an eye on that mean there's a lot of information in here.
有大量的彩色信息 There are tons of color information,
非常微妙的阴影 你可以让它平坦 very subtle shading you can just make it flat,
但是你必须让这个区域形成一个非常低的对比 but you have to make the area a very low contrast,
因为它是平的就像我们的头 and because it is flat just like our head,
你可以开始看到这里的不同之处 you can really start to see the differences in here.
如果这是一个更活跃的纹理 If this has been a more active texture,
你永远不会看到这些细小的静脉冷却在皮肤下面 you would never see these very subtle cools of veins were underneath the skin.
我在你的开头看到了很多 I see so much in your beginning.
画家 Painters,
我想 I think,
油漆 paint.
哦 Oh,
好的 OK,
美丽的纹理 Beautiful texture.
他们开始到处乱扔东西 and they started throwing texture everywhere.
相比之下 In contrast,
到处都是 Everywhere,
这是一团乱麻 他们想知道为什么它没有真正读懂 and it's kind of a mess and one that they wonder why it doesn't really read,
而绘画更多的是关于这些形状的设计而不是关于质地的 and painting is really more about the design of these shapes than it is about texture.
这就是为什么有些东西看起来像一幅画 That's what makes something look like a painting.
它实际上是对高频率细节的抑制和对光和暗图形的图形质量的夸大 It's really its suppression of high frequency detail and d exaggeration of the graphic quality of light and dark shapes.
但是你们知道我在这门课上要讲的很多东西 But you know a lot of things that I'm going to be telling you in this course.
它们是非常普遍的原则 它们很容易被反驳 They are very general principles and they can very easily be contradicted.
这就是为什么我不愿意做这样的课程的原因之一 And that is one reason why I'm reluctant to even do a class like this,
因为你 because you,
作为一个艺术家 你必须弄清楚什么是适合你的 as an artists have to figure out what works for you.
如果我告诉你这些关于光和影的东西你的头脑中有这样的东西是不受侵犯的 If I tell you all this stuff about light and shadow and you have that in your head is inviolate,
这对你作为一个艺术家或一般的艺术来说是不可能的 that is not going to do well for you as an artist or art in general,
任何时候我说一些看起来像是规则的东西 any time I say something that might seem like a rule,
我试着强迫它 and I'm trying to force it.
我想找到与我刚才所说的完全矛盾的大师作品 I would like to find master works that completely contradict what I just said.
我认为这是公平的 I think that's only fair,
我认为这会让事情变得更有前景 and I think that'll put things into perspective.
所以这幅精美的画是我的油炸 完全与我所说的明暗对比完全相反 So this fine painting is my fried and completely contradicts what I was saying about close contrast in light and shade.
这是他们的合同之子 或者是大量的文化利益 Here are their sons of contracts or tons of textural interest everywhere,
这是一幅美丽的画 and it's a beautiful painting,
所以有很多其他的方法来制作图像 so there are many other ways to make images,
我只是说一些普遍适用的东西 and I'm just saying things that are kind of generally applicable,
但它们在任何意义上都不是绝对的 but they are not absolute in any sense,
这取决于你想出合理的方法来扩展艺术在如何画东西上 and it's up to you to come up with reasonable ways to expand what art is in how to paint things.
另一种看待这个问题的方法 Another way to look at this.
因为数学上的倾斜是一个图形 For the mathematically inclined is a graph,
这是对比 and this is contrast.
这是一个影子中城和灯光 And this is a shadow midtown and light.
就像这样 It goes like that.
这是一种过度简化 It is an over simplification.
是的 Yeah,
我认为你会有很多画如果你说你必须在阴影中有强烈的黑暗 I think you'll have a lot of painting if you say you've got to have strong darks in the shadows,
你没有 you don't.
你必须在阴影中有公寓 You have to have flats in the shadows,
如果你有公寓 你就不需要去黑暗了 因为阴影仍然会读到阴影 只要它是平的 并且和那个和平的意思是不同的 and if you have flats than you don't have to go that dark because the shadow will still read a shadow as long as it is flat and is different than that and flat means.
不是那样 not that.
所以当你在画画的时候 So when you're painting,
你可以从这样开始 you can start out with something like this,
然后可能会开始在上面稍微变亮一点只是为了让光线更平一些 but then maybe start to glaze over it just a little bit just to get this flatter the lit side.
稍微平一点 A little bit flatter,
所以这些形状之间是有区别的然后有非常慢的移动服务会软化它 so there's a difference between those shapes and then where there are very slow moving services soften that.
为什么这个半径是实际的形式呢 And how why that radius is the actual form?
决定了等级的宽度 Determines how wide that gradation is.
我想我应该谈谈核心和阴影的问题 I think I should probably talk a bit about core and cast shadows.
这是一个整体的宇宙 总体来说 that's a whole universe in and of itself in general,
在20世纪早期 在核心和阴影之间的差异 和很多插图画家的区别 the exaggeration of the difference between core and cast shadows with a lot of illustrators earlier in the twentieth century,
莱利方法几乎完全是利用软边和非常硬边之间的设计差异 the Riley method work almost exclusively on exploiting the design differences between very soft edges and very hard edges.
如果你看这个 So if you look at this.
这可能不是最好的例子 Now this is not probably the best example,
因为这里有一个硬边 because there is a hard edge here,
因为这是平面 because the whole point of this is planes.
但是任何时候你有光从一种形式出现 but any time you have light coming over a form,
它更柔软 更有 it's softer and more.
有一个阴影 There's a cast shadow.
这是一个硬边 There is a hard edge.
所以你可以夸大核心和阴影的区别 So you can exaggerate the difference between core and cast shadows.
让我们来看看这张光和阴影的基本原理图在这里光线从一个核心阴影的形状离开 Let's look at this basic schematic of Light and Shadow here where light is coming over for him and departing from a form that's a core shadow,
这是一个柔和的阴影 在这个阴影中 一种形式将阴影或任何类型的投射阴影投射到另一种形式 变成了投射阴影 that is a soft shadow where a form casts a shadow or any type of cast shadow on to another form that becomes a cast shadow.
就像我说的 And as I was saying,
我喜欢莱利方法 I like the Riley method,
夸张的说 即使是为了达到让这些东西变得更尖锐的对比 通过设置一个坚硬的黑暗 exaggerated that even to the point of bumping the contrast of making these things even sharper by putting a hard dark,
这样就会有一种边缘 让它感觉更像一个阴影 so that kind of pops that edge and makes it feel even more like a cast shadow.
然后核心阴影就更柔和了 And then the core shadow is much softer.
很有可能 And probably.
有些是在这里 或者是把它们扔到桶里 Some are idea down here or that is casting onto the barrel them out in general.
优秀的艺术家不会以这种方式表现出来 Fine artists do not show form this way.
因此 为了它的价值 so for what it's worth,
这是一种过时的说明惯例你应该和她呆在一起至少你知道把它推到这一点 it's kind of an antiquated illustrative convention that you should probably stay away with her at least you know pushing it to this point,
但这里值得一提的是 在这门课的这一点上 它是有价值的 当我们画蒙古武士的时候 我在想 这在某种程度上是程式化的 but it is just worth mentioning here at this point in this course that it's there as a value and when we are drawing the Mongol warriors are on the horse Here I am thinking about that did somewhat stylized.
但这并不是很困难 But it's not pushed quite so hard,
在这个图中 so in this this diagram,
我们有对比的信息 缺乏光的阴影 但在中调 where we have contrast information lacking in shadow of lacking in light but higher in the mid tones,
或者这就是你的中间色调 or this is where your mid tones are.
他刚从我这里来 And he had just from I.
这是一个球 在这个球上投射出投射阴影 This is a ball onto which the browse casting the cast shadow.
这是阴影 and there is the form shadow.
还有来自眼睛的现金流 and there is the cash flow from the eye,
所以它确实读起来像一只眼睛 so it really does read like an eye.
如果你把事情简单化 if you keep things simple like that,
或者至少就像在插座上摔了一跤 or rather at least like a fall on a socket,
希望 Hopefully,
让我们把这个想法应用到你能看到的 let's apply this idea to hear so as you can see,
我把灯区保持得很平 I've kept the light areas pretty flat.
阴影是很平坦的 The shadow is pretty flat,
这些手套在哪里 and where these mittens are,
这就是你要得到颜色的地方 that's where you're going to get color.
如你所见 And as you see,
我用的是纹理画笔 I'm using a texture brush,
这是一半的信息这是一幅漫画 that's the half to an information that this were a comic drawing.
这就是你得到的 That's where you get.
交叉线 Cross hatching,
它强化了那种感觉 It reinforces that feeling of light,
就像月亮的例子 like the example with the moon.
现在我们明白了为什么有这么多的信息 形式在远离光 Now we understand why there is so much information where the form is turning away from light,
还有这个 and this as well.
我们应该总是有小的半圈和其他的在颧骨上的结构在这里伸出来 然后在里面拉上来 We should there always little half turns and the others all kinds of structures in the zygomatic bone sticking out here and then this pulling up inside.
所以我没有在光中画任何东西 So I have not painted anything in the light,
任何在阴影里的东西 anything in the shadow,
但两人相遇的地方 but where the two meet.
这就是为什么我对表单更详细的原因 That's why I'm being more detailed with the form.
这就是 so that's gonna.
开始看起来更现实一些 Start to look more realistic.
我想很多人 I think a lot of people.
他们会立即开始建模并将所有这些对比放入灯光中 they would immediately start modeling and putting all this contrast into the lights,
我想成为一名画家 and I want to be a painter's.
我想要纹理 I want texture out there.
我到处都是纹理 I went texture everywhere.
你可以有纹理和美丽的信息 You can have texture out there and beautiful information,
但它必须被控制 but it has to be controlled.
这种黑白的绘画方式你知道这是对它的颂歌 This black and white way of painting things you know like this is an ode to that.
这是平的 This is flat that's flat.
这些信息是光离开的地方 就像漫画艺术作品一样 The information is where light departs from form that's like comic art works.
这就是为什么它像连线一样有效 That's why this works as wired are.
我们的移动绘图工作 our mobile drawing is working,
这样画就很好了因为这很有启发性 有些时候你可以画出来 and it's kind of neat to be able to draw this way because it's very suggestive some time you can just paint.
一些形状和东西可以开始读起来 A few shapes and things can start to reads as something.
这是一种很好的方式 让随机性帮助你找到你想要的东西 让她变得更有创造力 It's a nice way of letting randomness help you out to figure out what you want to paint her to be more inventive than OK.
我要画在前面 I'm going to draw ahead.
现在我被锁在里面了 And now I'm kind of locked in,
但你知道 这可能会成为一种超越未来的东西 but you know this could have become something other than ahead.
它可能会变成 It could have become.
我能看到 I can see,
哦 oh,
我的目的不是一个头 I am ends instead of a head,
在我看到一个有眼睛的脑袋之前 and before I was seeing a head with a eyes.
它们很便宜 They're cheap.
他们的头发是那样的 They're hair like that,
但现在我看到的是一个背着背包站在雪地里的家伙 but now I see is a guy with a backpack standing in snow.
当然 Of course,
他有无处不在的枪和一个巨大的捉鬼敢死队背包 he has the ubiquitous gun and a gigantic Ghostbusters backpack.
所以以这种方式工作是很有趣的 So it's fun to work this way.
这在某种程度上暗示着你可以发明东西 并以她的方式 It somewhat suggestive than you can invent things and into her way,
但最妙的是 最终你可以开始在这里输入信息 but the neat thing is is eventually you can start to put information in here,
就像我们要和蒙古的光和影的作者 like we're going to do with the Mongol writer of light and shadow,
然后开始对这些区域进行着色 and start to colour these areas.
但问题是 But the thing is,
随着结构的完成 as the structure is done,
它不会去任何地方 it's not going to go anywhere.
然后你就可以开始玩这些不同的区域了可能会有一些等级 就像我们要和蒙古人做的一样 You can then start to play with these different areas and may be put gradations in them like we're going to do with the Mongol,
这就是半音的侧边栏和形成的阴影 so that's the sidebar of half tones and forming cast shadow.