Airi Pan Value Class 2-3
02 Lesson 1 - Values Part 2 - Class Syllabus
教学大纲。
class syllabus. 让我们看下本教材任务是什么？Let me tell you exactly what this course going to entail. 因为课程时长所以目测我们陪伴几周时间。And since we're gonna be spending the next few what I assumed to be weeks together. 让我进一步介绍下自己。Let me introduce myself a little bit further.你好我名字Airi Pan，你已经是知道了。 Hello. Hello. My name is Airi Pan, but you already know that. 除了介绍名字，深入介绍，我是娱乐影视概念艺术专家。as of this recording, I am a professional concept artists in the entertainment industry. 我曾经在风格化专题动画NetFlix任职，以及影视娱乐界化妆艺术家。And I have worked on stylized feature animation with NetFlix. as well as TV and makeup artist in entertainment industry. And I have worked on stylized feature animation with NetFlix as well as TV and make up artists in the entertainment industry. 和影视华纳兄弟和山雀电视剧动画片合作。And I have worked on stylized feature animation with NetFlix as well as TV animation with Warner brothers and titmouse. 我也在视频游戏领域合作，和娱乐软件动视公司合作名为使命召唤的项目以及暴雪公司合作过。I also work in the video game sector on triple a IPS with companies like activision on titles like call of duty as well as with blizzard and 我曾在海龟岩石工作室工作过，参与了四部作品的制作。with turtle rock studios on back four blood additionally, 此外我才参与真人表演公司合作过，主题公园公司，以上是作为商业插画师在国内外合作项目。I work with live action companies, theme park companies and I also work as an illustrator both domestically and internationally. 概念艺术，对我而言不仅仅是一种工作，对我而言是一种激情，而且很可能也是你激情所在。Concept art to me isn't just a job because it's a passion of mine. And it's very likely that it is yours as well. 我们行业不像通常人们想的被迫谋生，Our industry isn't one that people are usually forced into. 我们不是会计师也不是股权业务分析师或者事故辩护律师，We’re not exactly accountants or private Equity business analyst or accident lawyers. 你可能和我们一样，享受艺术，精益求精。And you're probably like me in the sense that we really enjoy art and want to essentially just get better at it. 因此我总是把学习放在待办事项优先级顶部。Therefore, I always put learning at the Top of my priority list, 因为我的技术给我生活带来成就感，because my craft brings so much meaning to my own life. 用正确的知识打开，日益精湛，持续协助我们前行。And knowing the right method and perfecting that method will keep all of us improving. 所以我们先快速过一下基本概念。So let's run quickly through what that is.
P2 - 01:56快速介绍项目内容。
The first thing is to understand black and white value structures. 首先我们需要理解的是黑白色阈值配比。The second would be composition. 第二是合成图。Next would be color and lighting, 第三是配色和照明。and then into painting techniques, to help the image to get to a higher fidelity. 然后绘画技巧帮助达到更高的逼真度。And then photo bashing techniques. We go for the highest level of fidelity. 然后照片冲洗技术，以求更高的保真度。And lastly speed painting.最后是素描。
P2 - 02:22用比萨打比方说明结构关联。
如果我们比喻成披萨，If you had to compare this to a pizza, because I love pizza, 黑白阈值和合成是面团，I would say that the black and white values and composition is like the dough. So I'm gonna draw Pizza like this pretense of pizza.配色和照明是酱汁。And then your color and lighting would be the sauce. 绘画技巧是顶部浇头。And all the painting techniques, all three of these right here, these would be the topics. 都放在一起就是披萨。And if you put them all together, they make one pizza. Also. Trust me, you're gonna be hearing a lot of pizza analogies from here on, but hopefully you'll find that a good thing.
P2 - 02:55为什么这样流程化？
现在我们快速一一解释一下公式方式是什么。Now I'm gonna quickly. And why exactly is formulated the way it is,我们从黑白阈值开始解释，是图片组成的基石。by starting off with the black and white values. Black and white values are honestly kind of the pillar of picture making. 让我们了解光影随行。They inform us about shadows. And thus they inform us about light.可以像Dean Cornwell做的那样，用光传递信息，we can use light to convey Information like Dean cornwell is doing here. 或者用很大的形状来传递光影信息，最经典的就是艺术导演岗位职责。Or we can just use really big shapes. And they are typically the first thing that will turn into an art director.叶通常是黑白对比的构图。 It would usually be some form of black and white composition. 此后，合成决定我们的受众和我们受限。Afterwards, composition determines our audience and our constraints.
P2 - 03:32不同尺寸比例适用不同场景。
如果绘画影视布景，用影视长宽比。If it's a painting made for movies, and it's going to be a film length ratio. 如果是游戏，是1920乘以1080标准长宽度。Or if it's a video game, it will be at 1920 by 1080 standard model size. 如果是手机，绘制成竖屏尺寸。Or if it's the phone, it will be a vertical format. 但是如果我们想要一部较长的电影，但是如果我们所有信息用竖屏传递会是灾难性的结果，But if we want a movie, so like a super long length movie. 因为3D建模师按照你绘图一帧帧的构建。But we deliver all of our paintings vertically. It will be a disaster because it's a 3D modeler build your painting off exactly like pixel by pixel. 要么你绘制的被裁剪，要么屏幕被裁剪，显然两个措施都不合适。Either a majority of your painting is cut off or a majority of your screen is cut off, which is of course not good,所以我们探讨合成问题如何正确补救措施。 which is why we are going to discuss composition to properly remedy that.
P2 - 04:18上色和打光赋予生命力。
此后，颜色和亮度赋予作品以生命力。Afterwards. Color and light breathed life into work, 很明显你可以选择任何你需要的颜色。and for obvious reasons tells you the color of whatever it is that you need to make. 因为颜色衬托情绪，协助你讲述故事，惟妙惟肖。 But it can also create moods. Tell you stories and make your painting visually spectacular. 最后，绘画技巧高保真度，让目标清晰，进度加快。Lastly, the technique delivered in your painting will bring it to a higher fidelity. It will make things clear and also help you speed up your process 所以不要事无巨细的在不传递寓意的细节上浪费时间。so that you don't have to draw every single brick on the wall or waste half of your life trying to detail every single tiny little leaf. 这就是流程化的原因所在。听起来很多，接下来分解开来叙述。And that is the reason why this class is formulated the way it is. This looks like a lot of stuff to cover, but I'm going to break it down for you over the length of this course.
In almost all of the painting classes I ever took, we were always started off in a black and white. 大部分绘画课都是从黑白阈值开始的。我们第一次绘画课，去墓场写生，Now in one of the classes I took, I remember in our first week we were sent to go out plain air painting at a graveyard, because that is the best place to paint anything clearly. 课程内容让我们做20分钟黑灰白绘画，学生们抱怨不已，说没有自己喜欢的色彩，And we had to do 20 paintings all in purely three colors, black, white, and gray. Some of the students were kind of grumbling, because they were like, oh, my work isn't turning out good, because I don't have like color to work with. I don't have like blue, I don't have green, so I can't make anything cool and pretty. 老师走过来，用黑白灰三色示范出来。学生们口服心服。明白老师用意。And then our teacher walks over. He's like a really tall man who wears this hat. He walks over and he does a quick few strokes on that students canvas. And then suddenly the van a graveyard being hit with light, appeared under canvas with trees in the background. All in Only black, grey, and white, and also only in like 45 seconds. How did he do it? We will get back to that in just one second. I promise. One of my favorite statements i've ever heard. 联想到一句谚语，黑白灰做了所有的工作，彩色却获得所有的赞赏。And I'm so sad because I'm not able to pinpoint exactly who said this told us as a class that black and white does all the work. Color takes all the credit.
为了强调这一点，我绘制来对比图来说明，三种形状前后重叠，左侧用灰白黑色，右侧是彩色。。to really emphasize that. Let's take a look at these three objects. Here I have a black and white in gray on the left side. And on the right side I have green, red and blue. 人眼睛不可避免的选择彩色而不是黑白灰色。And the human eye is actually incredibly perceptive to value as opposed to being perceptive to color. 黑白灰色可以传递或近或远的信息。Because with value we are actually able to perceive if things are closer or further away, there's a lot more science that I can kind of go into. 用通俗易懂的解释方法，人眼睛在黑夜中发现前面的障碍物，并不是通过五颜六色，而是通过黑灰白来分辨的。But essentially, we developed it because when it's dark at night, we need to be able to differentiate what is closer to us and what is not clear to us. Because if something is chasing us in the dark, there is a lot more important that we could see was in front of us rather than what the color is of the thing in front of us. So it's a biological thing from the very beginning. 现在我们看左侧正方形亮度调高，离前面圆形更近，离观众更近。Therefore, if let's say that I turn this square. So on the left side, the square, I turn it really bright then it immediately becomes really close to the circle. We've effectively brought it closer to us as the audience. And vice versa. 如果正方形变暗，远离观众方向去。距离后面长方形近，距离前面圆形远。If I turn this square darker, so like this, somewhere around here. Then I pushed it further back. It now feels like it's closer to the back rectangle than it does to the front white circle.
对比右侧带颜色的用同样方式调节明亮并不能传递距离远近信息。 Unfortunately, color doesn't really work the same way. 蓝色正方形变暗接近红色，选择变成紫色，没有传递远近信息，Let’s say that we turn this bluish square to a shade that's a little bit closer to red, which would be purple. But as you can see. It doesn't really feel closer or further away. 如果朝前变成粉色，也并没有感觉更近一点。We can even turn it a little bit more towards pink. But it doesn't feel like it's closer like the depth, does not really read very well. And vice versa. 如果我变成绿色，也没有感觉更近或更远。If I change it to a more greenish color, it also doesn't read like it's getting closer or further away from anything, which is honestly a really big problem.不能展示远近信息就是最大的问题，颜色只能展示平面，无法展示远近景深。 Because in order to build pieces that are believable, we need to make the viewer feel as if something is closer or further away. But with these colors where it's all just flat colors, they all feel incredibly flat.
再进一步强调，如果我们给圆环快速阴影，To further emphasize this, let's go into our circle. I'm actually going to just make a quick shade. 用简单填充半圆，你可以看到球形。And immediately, just with that simple stroke, you start to see that the circle becomes a sphere.但是同样的填充半边的操作方法，应用于红色圆形，你看到的不是球形的感觉，是画坏的百事可乐标识。 Whereas if I go into my red circle here and let's say I use a blue and I painted onto the red, unfortunately it is not really have the same effect. we don't really read this red circle as a sphere, but rather we read it as a really badly drawn pepsi logo. 如果我们不用其它颜色，用红色本色，去增加红色阴影，这样才看起来像个红色球体。说明圆形展示成球体是加深色，而不是其它颜色。There’s really no good way for me to take this red circle and turn it into a sphere without using a color that is effectively darker than the original red colour, which is the exact same thing as the sphere on the left, where we used a darker color or using a darker value.
04:33 Therefore, my point is that black and white values deliver us so much more Information than what color alone could ever do.这就是为什么你看黑白色,你没有看到纯彩色，因为人脑不是那样工作的。 It's also why you can view a movie in purely black and white, but you'll never see a movie and just pure saturated color. Your brain just doesn't work that way. 我们需要看到光影对照。We need to see what starker and what’s lighter. That will tell us not only which items are which, they will also tell us a form through light and shadow.
05:02现在我们回过头去看绘画老师45秒内绘制的图画。Now We're gonna head back to my teacher's painting. I'm gonna show you a super simplified version of what he did. But because he did it in 45 seconds, I basically do it in 45 seconds as well.
这是从墓地最深阴影开始的，方法是放置一个前景。He start off by placing down the strongest shadow for the gravestone, by having a strong foreground. And then he put in a cast shadow for the gravestone. 用三种颜色，加入中度阴影，And then he adds in the medium shadows and bam immediately just using these three colors, 我们可以分辨小环境进行趋势。we can tell there's kind of a steam like a little tiny environment going on. 墓碑像是被光线照射。We had this gravestone being hit by light. in the background, 树木阴影斑驳的。We have some trees being dotted. 前面是一小片草地。And we have this little patch of grass in the front. 用黑白灰三个阈值都是可以做到的。And this is all achievable, only using three values, black, white, and grey.
05:47 对概念艺术家为什么重要呢？So why does this matter to us concept artists? 第一，导演要求看到黑白灰缩略图。Well, number one, a lot of times the director will want to see a thumbnail painting in a black and white. 在交付底稿前需要看到草稿。They want to see essentially a sketch before we deliver the final painting. 如果问艺术家快速出缩略草图，一般是交付这样的样本。If it is usually faster to ask artist to draw in black and white. 把场景概念交代清楚。And it gives a very clear idea of what the scene would look like. 提供深度和清晰度明确的信息。It provides all Information in terms of depth and clarity. 实际上，不仅仅给Netflix服务，我也是先交付黑白灰缩略图样图。In fact, for Netflix. If I were to deliver a painting, I would first deliver a black and white version of my painting. 导演审核过了，我再拿回黑白草图上全色。And then after I get an okay from my director, then I will take the painting to full color. 这展示视频游戏比如飞溅的艺术You'll also see this in video games such as for splash art illustrations, typically of forty artists. 几组黑白缩略草图呈交给艺术总监。A couple of black and white sketches will be made to present to the art director. 艺术总监会说，我选择这几个。And then the art director will probably go through and he'll be like, okay, yeah, I like this one. And this one may be a little bit of this one or something like that. 或者让你修改不同的姿势或少量头发。或者改变打灯的角度。Or maybe you'll be like, oh, let's do a different pose or less change the hair. Or let's change the lighting angle. All kinds of stuff.
06:49 对待角色设计也是同样道理。Same thing with character design. 好角色设计要看到角色黑白阈值，They say that in a good character design, you should always be able to clearly see a blocks of value in the character, 不同部分都是清晰可见可以理解的。so that its different parts are clear and understandable. 比如快速给大家展示，这是探索者草图我们分解成几个大部位，让一眼可以辨识出来。This is obviously very hastily done. But with tracer you can effectively break her down into these few core block shapes. And this is what makes her recognizable on the field. 当然颜色非常重要，但是如果没有阈值即使涂上颜色也是无定形的一团。Of course, the colour is still very important, but without the value that everything would just merge together into one amorphous blob. 你可以看质量效应和金属齿轮早期设计也是从黑白阈值开始绘制的。You can see here in early designs for characters in games such as mass effect and metal gear, the designs are black and white to start off with.
07:32 最重要的是，第二点，黑白配比越是鲜明，上色就越到位。But most importantly, number two, the more understandable a painting looks in black and white, the more understandable and better the painting will look like in color. 如果概念艺术比喻为考驾照，黑白阈值就是考试内容的基本考核点。否则最终的形状很难被理解。It’s like the driving test for concept art. If you can't pass the black and white benchmark, it won't be understandable in its final form. 不要忘记，我们侧重讲述的不是高端艺术，是如何把艺术概念作为沟通桥梁呈现出来。Don’t forget, we're not making fine art in this class. We're trying to make things as clear and understandable as possible for our audience. 就像是建筑师不会拿出让人看起来摸不着头脑的图纸。We are the architect and there is nothing more clear and understood to our brains than values.
08:08 接下来我们看几个我喜欢的例子。Let’s take a look at some of my favorite examples. 这是Yojimbo大镖客电影的截图，kazuo miyagawa作为摄影师。These are screen caps from the movie “Yojimbo”, directed by the legendary filmmaker “Akira Kurosawa”, and cinematography by kazuo miyagawa. 你可以看到黑色角色如何通过亮背景对比烘托出来的。You can see whatever is a dark character still use a light to highlight the characters out. 比如这黑角色轮廓被高亮背景烘托出来。For example, we have this very dark character silhouettes against a very light background. 这角色黑色的轮廓通过雾蒙蒙背景衬托出来。The same thing you will see in this picture right here where the character is all very dark silhouette against this really nice foggy background. 这样让角色视觉鉴别度提高。一公里开外角色都可以跃然纸上。This make the character visually distinct. So he pops out right onto the page and you can see it clearly from a Mile away. 黑角色亮背景，简单明了。again, dark character against a light background. It's so simple and clear. 雾蒙蒙背景烘托角色这完全是有意而为之的。And the fog that rumbles through this piece is completely intentional. 有意而为之角色会非常醒目。They did it so that the character would be able to stand out or
09:07 我们看亮角色黑背景的情况，let’s go to the opposite where you have a super dark background. But then the characters are incredibly light. 眯起眼睛可以发现黑白界限的分水岭的走线。In fact, if you squint your eyes, you could even argue that there's basically two values going on here. 前景是灰色的，背景是黑色的，简单而明确，We have the gray of the foreground, and we have the black of the background because it is so simple and precise. 这让图像变得易读而清晰。That is exactly what makes this image so readable and so clear.
09:33当你遇到复杂场景，中间角色头发夸张的黑色， When you get to a more complicated scene like this, you'll notice that the main character in the very middle, his hair is a critical dark shade of black, 让角色在泛白的背景中变得赫然醒目。to make him stand out against this whitish background. 角色的靴子也是黑色的，在白色地面走过，也是非常醒目。And these other characters here they have black shoes to be able to make them distinct from the white ground. 此外，几乎所有角色都有黑色头发，为了让角色头部分外明显。Additionally, almost all of the characters have some form of black hair in order for them to stand out against. again. 白色背景也是通过雾蒙蒙来展示的。A little white background that is being lightened you through the usage of fog.
10:08 另一点原因，你甚至知道我如何标注重点。And here's another one. at this point. You probably know exactly what I'm going to say. And point out. 亮角色和亮前景和几乎黑色背景形成对比，you have this light character and a light forground all against an incredibly dark background. 可以分成一二三分别标注。Or you can break up the values into simply one and two. Or if you want it to be more precise, you could probably break it down into one. So the light is here, and 第二是中度灰色，then two, a medium grey,第三非常黑色的背景。 and then three a super dark black.
10:38 接下来我们看《毁灭之路》现代彩色电影，Once you move to modern day color movies, the same principle stance, for example, in road to perdition, one of my favorite Tom hanks movies,也是Conrad Hall传奇摄影师参与制片的，捕捉这些伟大的定格画面。the legendary cinematographer Conrad hall, captures these great moments where again,让角色异常醒目。the characters are incredibly distinct. 也是《Yojimbo大镖客》用到的手法，And you'll see the exact same kind of techniques that Yojimbo used, 你可以看到黑色角色和亮色背景对比鲜明。where you've got this dark character against an incredibly light background. And again, a dark character against a light background. 在这案例中，Conrad Hall把黑白对比放在身后窗户上。In this case, Conrad hall took a step further by purposely placing Tom hanks right here against this window. 亮窗户和超级黑的肩部和外套形成对比。So that this super bright window gets the contrast with his super dark coat and shoulder. 让观众瞬间注意到 Tom hanks 这角色。This immediately draws our eye right to Tom hanks character or
11:30 这场景中，纵然前面角色是模糊的虚景，但是不妨碍我们分辨角色特征。this scene here. Even though this character in the front is completely blurry and fuzzy, we're able to tell exactly what the features of this character are, 因为穿的白袖子，黑色的马甲，because he's wearing these very distinct white sleeves against a very distinct dark vest. And then a little face. 纵然摄像没有聚焦在前景角色，但是角色应该什么样子呈现在脑海里。So that even though the camera is not focused on him, we can see exactly what he's supposed to be.
11:53 这是午夜更复杂的场景，背景是夜间光线不够充分，And in a more complicated scenes such as night time, where there aren't any good sources of light, 你会发现影视用雾创建的标志。you’ll see that the movie makers used the fog that is created.比如雨打在地面就是高光发生的原因。Did when rain hits the floor to really highlight what is happening. 雨夜车轮廓发亮也是这原因。So you can see the clear outline of the car because of that rain.甚至一个主角在雨夜帽边缘可以是高亮。And even more so on the character here, you see that there's a slight rim light off his hat. It is so masterful, like, oh my god! Chef's kiss! 雨滴打打，边缘被高亮，就从背景中凸显出来。Just the light hitting off his hat to make his silhouette distinct from the background. It's absolute genius. 但是这并不是偶然的。And you're probably wondering, well, I bet that happens by accident. There’s no way that was intentional it was coincidence that might just hit him that way. But come on. 我们看看摄影师收入，He’s cinematographer. They get paid millions of dollars. Like there is no way that this is a coincidence. One of the most famous cinematographer is out there, Roger A. Deakins Wiki, His net worth is $84 million. They literally studied and calculated this stuff. Sure. Sometimes it might be a coincidence, but do you really think 你觉得好莱坞会花高价去买偶然吗？hollywood is going to pay $84 million for just a coincidence? Absolutely not.
13:09 同样的规律也适用于卡通，这是数字的，不是真人拍摄。The same thing applies to things in animation where all the lights are now digital and they are not physical. 因此，需要更加精确微调。比如玩具总动员这里，Therefore, they can be even more fine tuned. Check out toy story four right here, where this window, you'll see.你可以看到bo peep角色通过身后窗户光源衬托角色， It is strategically placed behind bo peep so that she was on a darker side is lit by the background of this window so that she is silhouettes essentially. 对面的woody也是通过窗户光源打到侧面脸上，凸显出角色轮廓来。the opposite occurs with woody where she is being hit by a slight ring light so that you can see his silhouette really clearly as well.
13:42 这样就说清楚一开始讲述学校老师展示的绘画关键元素。In fact, you can even see this principle in the color key paintings by one of our very own schools and teachers. Nice to meet you. A lot of people think that what makes these images all work is the fancy lighting or the colors which. Oh absolutely. That's definitely true because they said to me is amazing and lighting and color.
14:02 但是我愿意说一群人骨架实际上还是黑白对比架构。But the bulk of it I would argue the bones is actually the black and white value structure, 因为涉及到颜色不仅仅需要的专业画师，because not only is an incredible painter when it comes to color, 而且通过轮廓光和背景形成对比。but also noticed that he's using these rim lights here to allow for these characters to be selected against the background, 光打在面庞，往下延伸到面颊。or even right here, the light hitting off with his face, down toward his chin. 背景轻微黑色让角色轮廓高亮跃然纸上。And using this slightly darker little background piece right here to be able to highlight and really make him pop out. 类似于我们观摩的Akira Kurosawa如何让角色在《大镖客Yojimbo》中通过角色黑靴子白地板对比让角色突出。《玩具总动员》woody靴子阴影突出用同样的手法。Similarly to the way that we saw Akira kurosawa pop his characters out in the movie Yojimbo or check out how his boots are a darker shade in order for woody to pop out there.
14:49 当调整到黑白灰阈值，会发现清晰可读。And when you turn the piece of the black and white, see how clearly it reads. 甚至在黑白色，你会发现一点房屋内光线可以让玩具总动员中Buzz小角色变得赫然醒目。Even in black and white, you've got a little bit of room light off buzz light year so that this little toy character is really able to stand out. 和上面雨水打在帽边缘高光原理类似。And you have this tiny little rain light on the hat of this character here, so that she can stand out. 因为三种高光和背景不同的，所以我们让挨着站的几个角色都容易辨识出来。And by having all these different pieces of light and having it be different from the background, we were able to read this as different characters standing next to each other. 越是复杂场景越是凸显设计的智慧。Even though this scene is quite complicated. That is part of the genius in this piece.我们找几个反面教材，实际上允许发布影视中很难找到反面教材，因为如果你黑白灰阈值不过关，就不能发布，所以我只能硬着头皮找一个相对差一些的但是绝对过关的案例来对比分析。 Now let's take a look at a few others where I feel like the pictures aren't working. It's actually really difficult to find pictures that don't work, because to be quite honest, if you don't get this down, it's actually quite unlikely that. They would be hired. Typically, this is a skill that is considered to be the standard. So it was insanely difficult for me to actually find examples where there's a very poor black and white value structure. But I did do some digging and I'm not trying to point any fingers.
15:58 拿出《奇怪的魔法》和电影《up》中黑白阈值做对比。But that being said, I would probably point to the movie strange magic. Here you can see these two characters talking. 你发现《奇怪魔法》中黑白灰阈值，两个角色几乎消失在背景中。But something about this piece is incredibly busy. If we turn this piece into black and white, if you squint your eyes, these two characters get completely lost. 举例子说明，俩角色黑白阈值和背景阴影差别不大。For example, this character here is pretty much the exact same value in shade as the background. This character as well, where their pants basically are the exact same value as the background. 导致角色黑白阈值混入背景中，这是为了让你加强理解用的。And so these characters just completely blend in. to really emphasize this to help you understand.
16:31 再举例子，这是中性的调色板，Let’s compare it to the movie up where it's pretty much the exact same thing. They use a similar color palette. Which is a more neutral color palette. It's about two characters standing next to each other. 但是《up》一帧中，看起来赏心悦目的，现在我们看看为什么。But in this piece, it's so much easier and so much more palatable. But let's really see why. 转化到黑白色，If you turn this piece into black and white, 你会发现角色跃然地板上。you’ll see that this character really pops out in the background. 角色轮廓被完全凸显出来。She is being completely lit. 和黑色背景对比鲜明。And against a black background. 一两个角色轮廓形成鲜明对比。We have this very clear silhouettes in one of these two characters, even the background is being silhouettes, where you have this big chunk of background. So it's like side here.你发现这背景色白色的，这是有意而为之的。And then you have this side of the background which is all white. This is all completely intentional. Now let's compare the two together.
17:17 我们把两个黑白色底图放在一起。So we put them side by side and then turn it into black and white. 你眼睛不由自主的选择黑白对比鲜明的图，因为清晰度高，可读性强，才涉及到便于理解。Your eyes should naturally follow the piece from up instinctively, because it has a stronger value contrast. And so we're able to read the image more clearly. And thus year I will just naturally go to the thing that is most understandable.
17:36 这是另外一个案例《奇怪的魔法》和《up》，你的眼睛会滑落在《up》，或者在《奇怪魔法》逗留片刻，最终目光停留在《up》Here is another example. Again, the left side is from strange magic. And the right side is from up. If you just look at these two pieces directly. your eye again, should naturally flow to the piece of up. Or at the very least, if your eyes don't naturally flow to the piece of up, then they should be able to understand the pieces of up more. 原因是如果你打开黑白底图，你会发现问题集中出现在哪里。this is because if you're trying to piece in a black and white the problem of the values and strange magic is accentuated. 主角色几乎消失在背景里，The main character here kind of just fades into the background. 你会发现肩膀各个地方融入进去，你发现角色甚至没有完整轮廓线。If you look at their shoulder, you see that this value basically blends in with the value of the background or here and here, here, here, here, here, here, here, here, here. Basically, everywhere the character doesn't have anything to silhouettes. 和《up》里清晰可见的线条形成鲜明对比。Whereas in comparison in up, there's a very clearly line of distinction of where the character is supposed to be. 你会发现角色头发黑色对照背景白色的。You can see that this character's hair is black against white background. 你会发现角色身后的山厚重的和亮色蓝天形成鲜明对比，远山隐约可见。Therefore it's so obvious where sihouettes is or even the rocks in the background because of such a simple sky. The rocks which are darker also stand out very well. 因此，作品并不是越复杂也是好作品。需要易读易懂。Therefore, a piece doesn't need to be super complicated to ever be considered good. What it needs to be most of all is understandable. 再重申一次，别误会我，《奇怪的魔法》作品黑白底图是过关的，只是单纯就阈值技巧方面和高水平作品之间的对比。Also. Please don't get me wrong. The people who worked on strange magic are absolutely incredible. It was very difficult to find anything at all in movies that did not work very well value-wise. 为了更好的教学，我相信影视之间的对比，也是为了取长补短推陈出新。But for the sake of trying to teach something, I do think that some movies have done it better than others. But know that movies are really hard to make. 但是你的标准要朝着好作品看齐，高标准要求自己。At the very least, you can still tell that there is a character here. But realistically, we really should be aiming towards this. Just let you know.
19:25 到现在，我自己的作品也是反复看灰白黑的阈值。Now whenever I'm painting, I always love to check back and forth to see how my painting looks in black and white. Essentially, that is what makes a painting powerful or not. Therefore, let's dive into this concept a little bit more. And see how we can make our black and white value stronger.
