Airi Pan VisDev 19.07 20.10

 P19 - 00:03。 Time has come for you to start implementing everything we've learned so far.开始用我们目前学到的一切。也希望你记得我们学到的。 I sure hope you remember all of it, right? Do you? Well, even if you don't, we'll be reviewing some of it here. And you can always go back and watch things over and over again. And I will never know. So I'm just gonna sit here and pretend and think that you clearly memorized everything. The moment that you heard it clearly. 

P19 - 00:35屏幕。 

so far during our composition module, we're dividing the screen on a 2 d basis where we just take a canvas and we make some lines dividing it. 我们把屏幕划分为网格来开始探讨。But now let's discuss what is actually getting divided the stuff and decide the canvas. And to be quite honest, it's usually just these three items for ground, mid ground and background. 实际上是前景 中景 背景三部分组成的。So here's foreground. Here is the middle ground and here is the background. Sometimes it's just a foreground and background with no middle ground, 有时候前景 背景，没有中景。because the Images were simple. 

P19 - 01:08想像成层峦叠嶂的山。 

Basically, think of it as cascading mountains. With each layer of mountain, it gets more distant and distance and gets more atmospheric and more faded looking. 越是远处的越是云雾缭绕，越是褪出一样。Now when you look at these mountains, you could argue and you could say, WOW, there's like six layers of the mountains. So we must have names like semi mid ground or demi mid-ground or first like a backdrop for each of these, to which I would respond. No, we're going to simplify it, to just three foreground mid ground and background. 你看着层峦叠嶂的山，感觉要不要分中景，半中景，背景，简单的回答是，你只需要三个，前中后三个背景。 

P19 - 01:34三种颜色。 

It's kind of like the three colors for foreground mid-ground background, in fact is the exact three colors that we use in the previous black and white assignment. In our first episode, it's almost as if they're all connected. 还记得我们第一次的黑白阈值课程吗，这里前中后背景用到了，确实都是相衔接的。What what a crazy concept, in case you couldn't tell. Yes, I was being sarcastic. But again, just like in black and white, you want to simplify the image because now you're going to add a layer of complexity, because you want to divide the piece by its values. 我们简化下图像，因为你需要增加图层的复杂性，因为我们想通过价值来划分。 

P19 - 02:05足球的案例。 

Do you remember when that ball example, the very first episode where by changing the value, I could bring it closer or make it further behind? Well, now we're going to be applying that principle here, 还记得之前足球案例嘛？in order to make your piece feel fool, you usually want a foreground, a middle ground in the background. You can put your focus on any of these layers, but more typically you'll see people put their focus on the mid ground. 针对聚焦问题你可以选择任何层面，经典人们聚焦中景。So you can see the pegasus here is in the mid ground. That's my focus. 你可以看到中景有天马，所以选择聚焦中景。 

P19 - 02:32如果你有两层。 

Now, the other cases, if you have only two layers, background and foreground, this can occur a lot too. And you would typically just put your focal into the foreground, as I did here. 另外一种常见的情况，如果你仅仅有前景和背景两层，一般选择前景。 

P19 - 02:44总而言之， 

As a general rule of thumb, when you're painting, the foreground is typically darker. 一般你绘制的前景黑暗的，And then the middle ground is lighter in the background is lightest. 中景较明亮，背景最明亮。This is because this is exactly what we see in nature most of the time, 因为这是我们在自然中看到的大部分时间。and is most applicable to environment heavy pieces Is involving natural light. 因为融入环境的涉及到自然光。 

P19 - 03:06山的黑白阈值。 

When you look at the mountains, you know that the mountain closest to you is typically the darkest one. 你知道离着你最近的山最黑的山。And then they slowly fade and fade into the background. The background is the lightest.逐渐褪色到背景，背景是最亮的。 This applies whether it's a rule or a jungle. The dark is is typically in the front. 不管有规则还是无规则，黑暗的都是放在最前面的。 

P19 - 03:18另一个经验规则。 

And another rule of thumb, the closer the value that two items are. Then the closer these two objects are physically, for example, if I were to take these mountains and make them darker,then they feel that they are much closer to the front mountain. So my mid ground looks closer to the foreground,then they due to the background. 若是两个物体的阈值越接近，这两个物体物理上越接近。比如，如果我选择山，让变得更黑。 感觉更接近于前景山。所以与背景的距离相比，中景看似更接近前景。 

P19 - 03:41如果远山过于发白。 

But let's say that I turn these mountains super pale. Then suddenly the foreground mountains look very close to me, and the mid ground mountains look very far away. 比如我把远山背景颜色变得更亮，这样前景看起来距离我们更近，中景看起来也是远离的。It's a very simple concept, but as soon as you can wield this properly in your paintings, your paintings will give the same while effect, as if someone just saw the beautiful himalayas themselves in person. 这是非常简单的概念，你越是早点用于自己的绘制，你的绘制就越早给到这种效果。如果一个人亲自目睹喜马拉雅的风采。This doesn't always have to be the case though. 

P19 - 04:06特殊案例。 

sometimes the foreground is light in the background is dark. You will see this most often at night.你常常在夜间看到，前景亮的，背景是暗的。Let's say that you have a fire in the scene, then typically you'll have a dark foreground, a super bright mid ground, and then again, a dark background. 比如场景里有火，有黑前景，明亮的中景，黑背景。Essentially the only time that you won't a natural progression of dark foreground to medium ground and very light background is if there is some kind of light source that is adding new light to the scene.尤其黑前景到中景和浅背景没有非常自然的过度，如果光源把新光加入给场景。 Otherwise you really can't go wrong with this formula.  

P19 - 04:42不成文的公式。 

I would even argue lots of times people don't follow it enough, people are scared of losing detail in the piece.So they make everything roughly the same value. Therefore their pieces will end up looking something more towards like this.  Like, I can't really tell what's going on anymore in this piece. But it's a common mistake that I see everywhere.人们总是害怕细节不到失真，如果阈值大差不差辨识度不高。但是这种“错误”随处可见。 You get the same problem essentially that you had in strange magic versus up where the image is messy because there was no foreground to background understanding. 你会在《奇怪的魔法》和《up》中，有混淆前后背景的是因为找不到衔接过度。You need to lose detail. In order to become more clear, you need a clear distinction. In fact, I can actually tell you just how distinct you need to be. 有时候你需要失真为了突出清晰的分水岭。 

P19 - 05:21举例子说明分水岭。 

Let’s take a look at these mountains, for example, I know mountains everywhere, and we split a value chart from 0 to 100. zero being the darkest and 100 being the lightest. 看这些山，到处都是，阈值从0到100划分。0是最暗的，100是最亮的。 You want to group your values like so. dark, medium light. By using the value chart, we can numeracy just how dark and light it is. 你想给阈值黑中亮度。通过用阈值数据标尺，多亮多暗通过标准数据来标注。The very for ground is between 0 to 10 range. The middle ground is between a 40 to 60 range, and then the background is between and 90 to 100 range. 前景0-10的范围，中景是40-60范围，背景是90-100的范围。Notice how there is a good 30 to 40 numerical gap. I write 20 to 30, but I'm two minutes, 30 or 40. There was a distinct gap between these values. This is the most solid way to make sure that you have a very distinct foreground, middle ground and background. 差异可以是30-40，在数据间有明显差异的。需要确保你有前景 中景 背景。Most people who start off painting go to light on their values. So everything begins to clash all together. But by separating these well, you can create a beautiful amount of that and make your concept piece absolutely a mercy. 大部分人开始绘制按亮的绘制阈值。一切都汇集在一起。但是区分度不够，这样不算好的绘制。Because after all, that is our goal. So the next time you're double checking your work in black and white, check to see if your values are distinct enough from each other in mid ground for ground and background. 下次，多检查一次黑白阈值，看看中前背景的辨识度。And please, please, please don't do this. Don't look at it and say, all this is darker than this one. And this one is lighter than this one. Don't worry about that. Just look at the bigger picture. Look for groups of value, giant blocks of value. 不要这样看到浅灰色 深灰色，也会标注为不同的阈值。要从全局黑白灰来看。 

P19 - 06:57自问自答。 

Ask yourself why only had three great values. Black, white, gray. Which ones would I group into which, this is why we did black and white first, 我们首先做黑白色，因为这是驱动绘画的核心。because it's the foundation the core and it drives all of this picture making, this foreground mid ground background stuff is honestly secret sauce that makes your painting feel like it subversive, as if someone could reach their hand and say that they can be there. Because having these layers gives you a piece of 3D like effect. 因为这图层可以给到你3D效果。Before I start sounding like a broken record. Let me actually start by creating a piece to make sure that I don't kill you by making this specific video longer than 20 minutes. I'll catch you in the next video.