AiriPan 04 value part

04 Lesson 1 - Values Part 4 - Notan vs Chiaroscuro

 When it comes to decipher to black and white values, there are two main ways.当涉及到黑白阈值辨别的难点，主要是Notan和Chiaroscuro两个学说， Notan versus chiaroscuro.我知道两个华丽的专有名词。Yeah, I know too fancy words right off the bat.  

P4 - 00:16从Notan讲起。 

从Notan说起，这是日本一个设计概念，涉及并排放一起的明暗元素的板块和位置。 Let’s start, however, with Notan, Notan is a Japanese design concept involving the plate and placement of light and dark elements, as they are placed next to each other.以及艺术和图像的合成。And the composition of art and imagery. Okay.  

P4 - 00:30通俗易懂解释Notan? 

简而言之，Notan是光影随行在一起的排列组合方式。But what the heck does that mean? It's actually really, really simple. It just means putting light stuff and dark stuff or next to each other. That's the concept. 以上是概念，但今天强调的是局部阈值。别担心，我会拓展讲述。But what we typically mean today is actually differing local values. Don't worry, I promise. I'll explain more.  

P4 - 00:50概念起源。 

为什么说概念源自日本设计理念呢？Now the concept of Notan derives from the Japanese origin is a Japanese design concept, 因为日本传统木刻版画艺术家只能平面绘画，不是西方可以混合调料的绘画风格，because in a traditional Japanese woodblock print artists were only really able to paint in the flats rather than the western style where people would actually mix paint together. 木刻版画用平面颜色压印而成。in Japanese woodblock printing. It made a lot more sense to just use a flat color since you were essentially just stamping it on.意味着，头发颜色是黑色，皮肤是另一种颜色，衬衫也是另外一种颜色。This means that the hair would be black. The skin will be another tone, and then the shirt and other tone as well. 类似的，皮肤是一个色调，头发是一个色调，Same thing here. You can see the skin is all one shade. The hair is all one shade. 衬衫色调或者红色或者黄色，但都是平面色块。And then the shirt is either a red or yellow, but they're all flat blocks of colour. 

P4 - 01:33看看另一个著名画师的风格。 

Let's take a look at Hook side. One of the most famous painters. 著名画家也是用局部阈值。You will see that he's essentially painting only with local value.  

P4 - 01:42局部阈值的概念。 

局部值概念是没有阴影的物件的描摹。 Local value means what is this item with no shadows? 分析这幅作品中局部值，浪涌起高处的泡沫是一个色块白色，水颜色完全蓝色的。So in this piece, you can see that in the wave, all the foam is one colour, which is white, whereas the water is completely blue.船是另一个实体颜色。 And in the boat is another single solid color.右侧马的颜色，纯红色块。And on the painting to the right, you'll see the horse. Is a solid block of red.人是白色的，水浪花也是白色，水本身是蓝色， The humans are white, and again, the foam of the water is white, and the water itself is blue. 另外，树颜色是黄绿混合色，Additionally, the trees are a mixture of green and yellow. 并没有太多别的色块。There isn't much shading going on necessarily. 每个元素都选择平面颜色。And each of these items are painted exactly one flat color. 

P4 - 02:22光源。 

如果你硬要问有没有光源这问题，我很难回答有或无，因为这光线充足平铺到整个画幅。 If you had to ask me if there is a light source in this piece, I wouldn't really say there is one. because the lighting is completely flat throughout.  P4 - 02:30再分析下另两个作品。 

Let's take a look again at these two paintings. 你发现是我之前提到的规律，You will see that just as I mentioned earlier, 画幅每个构成部分都是平面画块。every single component of this painting are painted with a very flat value. 颜色是专属色局部区域。And they're colored specifically with the local value. 

P4 - 02:43本质上说？ 

So essentially,开头定义没有阴影的物件什么意思呢？ what is this item without shadows?在这案例中，头发没有阴影色是纯黑色。Well, in that case, hair without shadows is still just black. 皮肤没有阴影就是泛白的黄色。A skin without any shadow will just be this one solidified pale yellow white colour.衬衫和格纹长袍是一个道理。 And the same thing with the shirt or this guy's plaid robe.  

P4 - 03:00总结Notan的理念？ 

This is the idea of Notan. 用强烈的黑白对比色毗邻。Having this strong black and white elements next to each other. 黑白分明，头发在亮色皮肤衬托下更黑，皮肤在黑发衬托下更亮。You'll see that the hair is a much darker color, and it stands out starkly against the lighter skin.  

P4 - 03:13和Rembrandt对比看。 

在他的年代是以光影运用得体而闻名的，Now let's compare this to Rembrandt. Rembrandt was a very famous at his time for his usage of light and shadow. 在光影艺术家心目中地位是首屈一指的。In fact, if he had to ask anyone on the street about an artist who's completely specialized in light and dark, most people would probably say, Rembrandt!  

P4 - 03:28把他作品转化到黑白色。 

Let’s quickly turn his paintings as a black and white.你会看到非常强大的“点光源“效果。And you'll see that there's a really strong usage of light and dark.近光源头顶部头发几乎铺满光照。Notice how this entire section right here is completely covered. 被头发遮盖下鬓角部分完全黑色的。不被遮盖的皮肤是亮色的。It essentially darkness. And then this little patch of skin is light。 

P4 - 03:44右侧图。 

光打亮的肤色和照不到的阴影肤色形成鲜明对比。or here as well as a giant patch of light skin versus a giant patch of a darker shadow.  

P4 - 03:50R和C有何不同呢？ 

What differs Rembrandt technique to a Japanese Chiaroscuro painter？ Is that  t he skin here, this shade right here is the same exact value as the hair right there.背光的肤色和头发色是一个阴影色。右侧男人背光面部和喉咙褶皱都是阴影。 Or for this man's skin, this darker toned skin is the same kind of value as the darker tone of his throat or ruffle. 所以和物体对于色块理论无关。So it almost disregard for the local value of the original objects. 

P4 - 04:14相反，R更偏好？ 

背光面和光投影。Instead, Rembrandt favors is using light and dark to describe the shadow and light forms that light is casting on to his characters.亮色针对皮肤，暗色针对衬衫。在背光阴影和投射视角，模糊了不同物体界限。It doesn't matter. The skin is a lighter color or that the shirt was a darker color. 阴影都是会安如尘埃。不管是皮肤还是衣服。When he paints shadow, it all falls into ducks. 而皮肤和衣服对应不同色块是Chiaroscuro的概念。 

P4 - 04:34C合成词概念是什么？ 

"Chiaro"意思亮度，"Scuro"意思阴影。合在一起意味着光与影，有拉丁 意大利溯源到西方元素。This is the concept of chiaroscuro, Chiaro means light, and  scuro means dark. together It means well, a light and dark and has a Latin and Italian or western origin.  

P4 - 04:44和Notan比较， 

两个黑白底图进行对比。So if you compare it to Notan, this is what you should see. Let's quickly turn it into black and white.在Notan黑白色阈值是由局部值决定的。In Notan. The black and white values are determined by the local value. 具体局部按照皮肤和头发不同材质划分的。So the skin and the hair,  

P4 - 04:57对比而言。 

但是在Chiaroscuro价值由光决定的，however, in Chiaroscuro, the values that are determined by the light here. In the shadow.为通俗易懂再简化叫法。And now to make it even easier, we don't even need to call it Notan and chiaroscuro. 我们可以叫做局部值和阴影值。We can call it simply local value and shadow value instead. Much simpler. 可以拜见朋友时候炫耀一下原称谓的冷知识。Although if you go to your friend and start saying Notan and Chiaroscuro, you can totally flex your cool art knowledge. 所以以上就是两个主要的基本的黑白值的分类。So those are the two basic and main ways to categorize your black and white values.  

04 Lesson 1 - Values Part 4 - Notan vs Chiaroscuro P4 - 05:26如何应用。 

我们谈论两个学术流派理论如何应用到现代创作中，因为我们现实并不是只能临摹“Rembrandt”绘画和日本木刻版画。But let's talk about how to actually apply this to our own painting. Because in real life, we're not going to see either just Rembrandt paintings or Japanese wood block paintings. 都是一定程度的综合运用。Everything is actually on a scale. 有些绘制偏向局部值多一些，有些绘制偏向阴影值多一些。有些绘制恰到好处的折中。Some paintings are going to be more local value based, Whereas other paintings will be more shadow value based. And some paintings are really just smack in the middle.你自己决定什么情况用什么，思虑清楚哪一个更适合你。So you get to decide when to use which method and also think about which one would suit you more.  

P4 - 05:50什么情况适合用什么？ 

针对Notan绘画方式对局部值有大量信息的帮助。Notan paintings are great for describing the local value of something. So they give a lot of Information, 而Chiaroscuro绘制告诉光影的信息。whereas Chiaroscuro paintings obviously tell you a lot more about lighting and shadow. 有戏剧性对比效果，同时传递某种情绪，So they're great for things like dramatic effect. And to convey a certain mood, 

P4 - 06:03举例子《毁灭之路》。 

let's take a look again at the road to perdition. 本案例中，你可以看到黑白值的作用，因为由局部值区分的。In this example, you can see the black-and-white values work because they are separated by local value.比如男孩的白衬衫和黑裤子形成鲜明对比。 You have the boy and his shirt, which is a very stark contrast from the pants, 在海洋衬托下格外醒目。which stands out really well against the ocean right here. 更不用说头发另一个阈值。Not to mention his hair is also another value. 深黑色发色和亮色海洋形成对比，Dark black against again this light ocean, 让人物轮廓分外醒目。which really gets to bring him out in a silhouette. 

P4 - 06:30《毁灭之路》电影另一个例子。 

我分析Chiaroscuro应用成分多一些，Whereas in this screen shot I would argue that this is based more off of chiaroscuro. 你看到透过窗户的光打在男孩脸上头上了，You see there is light hitting his face and his hair. 你可以想象向光和背光的分水岭弧线。And you could argue that there is this almost imaginary line right here that separates the light in the shadow,这是唯一一个被光照到的地方，because he is the only character being lit.你可以看到其它角色并没有被光打到。 You can see that these characters don't really have any lights on them.你眼睛不由自主落在中间被光找到的角色身上。 Your eye will naturally go to this character in the middle,  

P4 - 06:56影视《毁灭之路》案例三。 

这剧照截图案例相反，你可以看到的是，按照物体不同而区分的颜色。the opposite in this screen shot. Or you will see that everything is separated via local value. 白色袖子，黑色马夹。White sleeves are white, black vests are black, 黑色套装，白色头发。black suits are black and white hair is white.  

P4 - 07:05彩色变成黑白地图深入探讨。 

And just to prove it to you even more, I'm gonna turn this piece into black and white. 你会发现一切都是平面色局部价值，图像按照物体静态井然有序的局部色填充的。And you'll see that everything is basically flat blocks of value. and all of these images are very orderly, and they're designed in the stately matter.  

P4 - 07:26从影视案例移步到绘制作品。 

Now let's move on from movie frames into actual paintings. 我们看看艺术家Ryan Lang给《Moana》的作品，Let's check out some artwork by the incredible Ryan lang and this piece here that he did for the development of the movie Moana,我分析是基于Notan或局部黑白价值图构成的。 I would argue that this piece is based off of a Notan or local valued black and white schematic.  

P4 - 07:42分析原因。 

岩石 海滩 海洋 绿树分别是一个色调， This is because the rocks would be one shade. The sand is one shade, the ocean is one shade, and the green is another shade. Yes. 你可以着眼阴影鉴定为光影随从的论据。You can argue that there are some dark spots here, like some shadows here and there.  

P4 - 07:56总而言之。 

你发现最大不同是在光影。But overall, if you turn the piece of black and white, the strongest difference is in the dark. 就是岩石 草地 沙滩 海洋 天空亮度不同。And the light is between things like the rocks, the grass, the sand, ocean and sky.所以是局部值而不是光与影。 So these are local value aspects. They are not shadow and light aspects.  

P4 - 08:12进一步解释的案例。 

也是Ryan Lang给《Moana》另一个作品，倾向于光影Chiaroscuro学派。To explain a little further, let's take a look at another piece he did from Moana where in this piece. I've argue is based off of a chiaroscuro or a shadow light value schematic . 

P4 - 08:23具体分析作品中的光影随行。 

in this piece. Overall, 有背光区域与向光区域以及分水岭。there is this big mass of dark value right here. And another really big mess of lighter colors here.背光面元素女神和掌心中Moana主角。 But you'll see that in these two masses, for example, in this dark mass here includes the goddess as well as Moana the girl,向光面包括瀑布边缘和草丛。 whereas the light value includes the waterfalls edge as well as the grass, 向光域和背光域包含不同的物体。which are all at different objects in different things.  

P4 - 08:51这是概念举一反三的运用。 

And just to hit the concept home, 如果我们切换到底色，你发现验证了那句话。you see that if we turn it into black and white, that statement stands true. 背光域是因为在阴影里。All of the dark values are because they are in the shadow, 向光域因为光线照射到了。whereas all the light values are because they are being hit by a light, 和之前不同材质物体不同岩石，理论是不同到。very different from the piece that we were talking about earlier A k A this piece over here.  

P4 - 09:10分析局部域不同的原理。 

万变不离其宗的理论鉴别点。光影分水岭，局部毗邻物体不同阈值不同。This is the difference between a light and dark values schematic versus a local value, value schematic. 

P4 - 09:17更重要的是。 

重要的理解到什么组成了一个作品中黑白部分。这才是概念学到家了。 It is super important to recognize these patterns and understand what makes a piece of work in black and white, and to really just drive the concept home even further.  

P4 - 09:23现场演练一个案例深入探讨。 

这是超级短的演示举例说明。I’ve got a super short demo to show you. Here is a photo of Shirley temple.如果我用黑白域原理绘制，头发 肤色 衣服三种不同的颜色。 If I were to paint her using local values, I would paint it like this, where her skin is one value. Her hair is another value, and her dress is another value.  

P4 - 09:42按照光影随行如何绘制黑白底图。 

如果用光影随行方案绘制，画出来是这样的。Whereas if I wanted to paint Shirley according to shadow values, this is how I would paint. 你发现亮色暗色已经不是光影分布的标准。You'll see that the main black and white differentiation, is now between the lights and the darks.  

P4 - 09:53需要记住的。 

在你绘制自己作品和研究的时候，需要牢记的，So just keep that in mind when you're painting your own pieces or doing studies, 问自己按照亮色暗色划分，还是光影随行绘画。ask yourself if the thing that you're looking at is mainly based off of a local value schematic or a light and shadow values schematic.你没必要全和无的选择，可以两个方案融会贯通，切换自如。 You're never going to have one that leaves completely towards one way or the other. It's always a balance.  

P4 - 10:12选择一个主打韵律。 

But typically you want to Lean a little bit more towards the one side versus the other. 因为如果没有倾向性，开始训练有点困惑。Because when you're stuck directly in the middle is sometimes a little bit too confusing.眼睛看过分析案例多了，区分开来会不费力气。 The stronger your eye becomes, the more you'll be able to naturally do it yourself.   

10:16 But typically you want to Lean a little bit more towards the one side versus the other. Because when you're stuck directly in the middle is sometimes a little bit too confusing. The stronger your eye becomes, the more you'll be able to naturally do it yourself.  

P4 - 10:34举个煎饼的例子。 

我个人爱做煎饼，家人有不成文规定周末做煎饼。Super quick side story. But I am a huge fan of pancakes. I like to make pancakes a lot myself. And my family has a tradition of pancake sundays. 几年前我在网上冲浪看到日本某家餐馆晒图煎饼让我垂涎欲滴，超级厚的煎饼。A few years ago I saw on the internet that there was this cafe in Japan that served the most amazing pancakes ever. They were like super thick. 于是我为了这厚煎饼亲自去了趟日本品尝。And I saw it and I said to myself, oh my god, I have to go. 我确定我到了日本第一件事奔着这家餐厅去的。So I made sure the first thing I do when I return to Japan was I went to this cafe, 并且我给自己千里迢迢去吃到的煎饼留照纪念。here are my photos. I took myself personally all the pancakes I got to eat. Oh, my god!是我吃到最赞的煎饼，不虚此行。 It was the most amazing pancake I had ever eaten. It tastes even better than it looks, if that's even possible.  

P4 - 11:17我要借此表达的是。 

吃过好吃的煎饼，我意识到自己做的煎饼不合格的。But here's the thing. After I ate those pancakes, I realized how subpar my own pancakes were. 我自制的煎饼和餐馆里煎饼没什么味道。My homemade pancakes didn't taste anything, 而这些煎饼，色香味俱佳。like these pancakes. They weren't as soft. They weren't as sweet. And their color wasn't this nice either. 但是现在我有个标尺了。But now I had a benchmark. Perhaps 我可能做不了这样好，但是每次我努力调整自己做煎饼的配方，无限接近这煎饼的水平，I'm not able to make pancakes as good as this. But the next time that I made my own homemade pancakes, I kept adjusting my recipe so that it would hopefully get closer and closer to this absolute banger of a pancake.  

P4 - 11:51艺术也是同样的道理。 

The same thing for art, the reason I'm telling you all this stuff, so that you yourself have a benchmark. 需要不断训练自己眼睛，黑白阈值对比强烈应该什么样子的。You need to develop your own eye to know what is strong black and white values. 你作品黑白色对比调节的会越来越好。And then naturally your own black and white values will improve too, 因为你眼睛标尺越来越准确了。because you have set yourself a standard. And that is so important. 所以如果你手里有赏心悦目的作品，转化到黑白色去训练自己的双眼。So if you ever have a piece you really like, just try turning it into black and white. In fact. Let me show you a few ways as to how. All right.  

P4 - 12:19接下来如何转化到黑白色的操作 

So here we have this piece here, and we want to turn it into black and white. 一个最简单的方法是，One of the first and easiest things to always do as you来到图像菜单栏 调节 色相饱和度或自然饱和度， go up here to image you go to adjustments and you go to hue saturation. Or you can go to vibrant, 两个都奏效，我们选择色相饱和度。either one of these for work. But let's just use hue saturation. 可以把饱和度调低，这是其中一种方法。So I'm just gonna take the saturation all the way down. And that is one method for turning things into black and white.  

P4 - 12:47第二种调节到黑白底片的图。 

So here is the second way of doing it. So originally you're all the way up here. But now you're going to travel all the way down here. You see we can zoom in just so you can see it better. I mean,到右下角点击半个月亮小图标，点击色相饱和度，移动滑块， it's like this little half moon. I’m going to click hue saturation here. That is your adjustment layer. And then you're going to move the slider to your liking.  

P4 - 13:08问题是。 

So the question is, OK, well, what was the difference? 却别是这像是大地毯。While the difference is that this is basically kind of like a giant blanket. 如果我把绘画单纯的变到黑白版。If I simply took this painting and then turned into black and white, let's say that I okay here. 比如我前景绘制一个制片人。I'm just gonna draw this stick person right here. 绘制后点击空白，制片人成为图片风景之一。Click here and now a part of the painting. they are a very integral to the painting.  

P4 - 13:38绘制前景人后再打开黑白开关。 

And I turned my piece into black and white, like so I got huge aspirations and turn it down like that.但是后绘上去的制片人没有转化到黑白色。 But oh no, my stick figure which is on a different layer, doesn't get turned black and white. That is awful. Oh, no!   

P4 - 13:51如何把纸片人转化到黑白。 

whatever shall we do?万幸的是这里有名为色相饱和度调整图层。 Well, thankfully there is this thing called a huge alteration adjustment layer, 想像成大地毯，打开视觉化。which is a think of it as like a giant blanket. All you have to do is turn it on. So turn on the visibility like so.  

P4 - 14:06制片人变黑白了。 

And now your stick figure is also going to be in black and white along with the original painting. Now one of my favorite ways to turn things are black and white as well. Let me show you an even better way. 

P4 - 14:19还有一个更好的办法。 

只需要一点点设置。It just takes a little bit of a start up. The first time it will be a little bit difficult, but that's it isn't that difficult. I'm really just hyping it too much up here. 视角 校样设置 通用，So you're going to here to view, and then you're going to proof set up. And you can also go for customs. I was gonna click it really quickly。 

P4 - 14:36设置之后。 

and if you first start off, 选择苹果或者Adobe RGB都是可以的，you're gonna probably it's gonna probably set you up with apple RGB or some other like one of these things. No problem. This is super easy to change. 

P4 - 14:53为什么点增益只有百分之二十？ 

选择点增益20%， All you gotta do is click it and you go to dot gain 20%. Why is it only 20%? Honestly? 没有确切愿意，重约俗成的，记住后，点击确定。I'm not really sure either. Every single person i've ever talked to has always done dot gain 20% and is supposed to be the most accurate. And then you just click. Ok.  

P4 - 15:06快捷键？ 

So what did I just do? All you have to do now is to click CTRL+Y on your keyboard. So right now I'm literally Just clicking CTRL+Y and then flipping back and forth, back and forth, probably giving you a little bit of a headache watching this, but back and forth into black and white. And that is my absolute favorite method. 快捷键Ctrl Y电脑上，彩色和黑白来回切换的看。 

P4 - 15:27手机替代电脑。 

Now there is no right or wrong way to do any of this stuff. Is that if you really want it to be super junky, technically you could take a photo off of your screen with your phone, so here is your phone, and this is your computer screen. Take a photo and then go into your photo settings on your phone and change it to black and white. 如果你觉得杀鸡焉用宰牛刀，电脑上快捷键来去的看的眼晕操作不方便，用手机拍下电脑的图，在手机上彩色黑白间来回切换。There's OK. The options are endless, but hopefully you don't have to resort to that method. And instead, you can just click Ctrl+Y instead. 

P4 - 15:59喜欢的彩图习惯切换到黑白思考。 

Once you look at some of your favorite artists paintings and how they kind of tackle black and white values and理解标尺，深入理解，比不去看案例，单凭自己想象，更容易掌握标尺。 understanding like that benchmark, you'll be able to kind of get a grasp and understand that it is a little bit better yourself.  

P4 - 16:08下节课复盘。 

So now let’s jump into a recap. Have a look at what we did so far.