Originate原文 : 5 Fundamental Skills Every Artist Should Master
artist作者：Bobby Myers
作為練習英文用，所以將這篇文章翻譯一下，不過因為當練習用所以有些修飾詞彙會用的很累贅
and英文還不是很好，所以很多翻譯起來會怪怪的，若是造成不便請見諒嚕~
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5 Fundamental Skills Every Artist Should Master
每位藝術家應掌握的五項技術
As an artist, your job is to immerse your viewers into a world that you have built and guide them safely through it. Artists have much in common with storytellers. Storytellers have several tricks that they use to keep their readers coming back for more. Like storytellers, artists can use similar tricks to help them produce more compelling artwork. In this article, we will explain 5 fundamental skills that every artist should master. Let's take a look!
作為一位藝術家，你的工作是要使你的觀眾很順利地進入你所建構的創作之中，藝術家同說故事的人一樣，說故事的人擁有許多讓觀眾流連忘返的技巧，如同說故事者一樣，藝術家也可以用類似的技巧去幫助製作出更多引人注目的作品，在這篇文章中，我們會說明每位藝術家應掌握的5項技巧。
1. Composition
The most important aspect of art to me personally is the composition. It sets the stage for everything else. This is your way to guide and lead the viewer to make them feel as if they are actually in your picture. If this part of the process is not created and controlled properly, everything else can and probably will fall apart. That doesn't mean that you have to follow every little rule. In fact, many have broken them and created very successful works of art. It's knowing how and when to break them that will allow you to do it successfully. But before attempting anything like that, you first need to learn the rules and see how they work and function.
1. 構圖
我個人認為創作最重要的技巧是〝構圖〞，〝構圖〞為一切設置了一個舞台，這是你實際在你圖中去引導帶領觀眾的方式，假如這階段沒建立好或是做了錯誤的安排，那麼很多事情也可能會失控，但這不代表你必須去遵循每個小小的規則，事實上，也是有很多打破這些規則而創作出很成功作品的，它讓我們知道如何在打破這些規則之下而如何創作出成功的作品，但在嘗試打破這些規則之前你必須去學習這些基本的規則以及了解它的做法與功能。
Rule of Thirds
This is the simplest and most used composition technique, one that I use a lot myself. Because it is simple to learn, it's something that is recommended for beginners and those who are new to the fundamentals of composition. When used, it will divide the picture into 9 equal parts that are separated by two horizontal and vertical lines.
我個人認為創作最重要的技巧是〝構圖〞，〝構圖〞為一切設置了一個舞台，這是你實際在你圖中去引導帶領觀眾的方式，假如這階段沒建立好或是做了錯誤的安排，那麼很多事情也可能會失控，但這不代表你必須去遵循每個小小的規則，事實上，也是有很多打破這些規則而創作出很成功作品的，它讓我們知道如何在打破這些規則之下而如何創作出成功的作品，但在嘗試打破這些規則之前你必須去學習這些基本的規則以及了解它的做法與功能。
Rule of Thirds
This is the simplest and most used composition technique, one that I use a lot myself. Because it is simple to learn, it's something that is recommended for beginners and those who are new to the fundamentals of composition. When used, it will divide the picture into 9 equal parts that are separated by two horizontal and vertical lines.
三分構圖
這是最簡單也是最常用的構圖技巧，這個我個人用很多次，因為他很容易學習也很容易上手，推薦給初學者使用，它是構圖法中很基本的技法。
當你在使用時，它會在圖上用兩條水平線與兩條垂直線將圖面分成9個均等的範圍。
The main idea behind this is to place your most important element/object on one of the intersections where the lines converge (the +'s), as well as along or near the vertical line of wherever your focal may lie.
把主要的元素放在兩線交會的點上，以及把焦點延著靠近垂直線上。
It is believed that when this is used and your subject/focal sits on one of these spots, it creates more interest in your picture rather than having it centered.
依據你將主題放置在這些焦點上，它會讓你的圖比起只把重點集中在中央來的更有吸引力。
這是最簡單也是最常用的構圖技巧，這個我個人用很多次，因為他很容易學習也很容易上手，推薦給初學者使用，它是構圖法中很基本的技法。
當你在使用時，它會在圖上用兩條水平線與兩條垂直線將圖面分成9個均等的範圍。
The main idea behind this is to place your most important element/object on one of the intersections where the lines converge (the +'s), as well as along or near the vertical line of wherever your focal may lie.
把主要的元素放在兩線交會的點上，以及把焦點延著靠近垂直線上。
It is believed that when this is used and your subject/focal sits on one of these spots, it creates more interest in your picture rather than having it centered.
依據你將主題放置在這些焦點上，它會讓你的圖比起只把重點集中在中央來的更有吸引力。
Iconic
In contrast to what was stated above, this particular composition sets the focal point directly in the center of the picture. Although it is mostly used for character-based pieces, that does not mean it can't be used for other means, it also explains why a central focal point is desired.
菱形構圖
In contrast to what was stated above, this particular composition sets the focal point directly in the center of the picture. Although it is mostly used for character-based pieces, that does not mean it can't be used for other means, it also explains why a central focal point is desired.
菱形構圖
對照以上的說明，這個特殊的構圖是直接將焦點放置在圖的中央，它大多是以角色為主的構圖技法，但這不代表它就不能用在別處。這個構圖法也說明為什麼有時候中央放置焦點也是需要的。
For character artists, one of their goals is to place the character right in front of you and draw as much attention to it as possible. There is no better way than to put them right in the center of things. Which is why this composition is most appealing for characters (but again, don't let that sway you from experimenting).
它主要的目的是將角色完美地放置在你面前，盡可能地吸引你注意，沒有比將物件放置在中央更好的方式了，這就是為什麼使用這個構圖方式可以這麼吸引人的原因。(但再次強調，別讓這些構圖的規則左右你的創作。)
除了中央以外，在這個像是鑽石型的範圍可以放一些需要被注意的細節。觀眾不會去注意到你在作品中所做的這些安排，所以你只要告訴他們你圖中有哪些東西是被需要注意的，像是光、顏色、細節以及其他事物，在鑽石型之外的可以放置一些比裡面的細節不用被注意那麼多的事物。
你可以使用這些基本的構圖技法，也可以去嘗試做複雜的構圖，這由你去決定，但我建議你，在你要去嘗試更多複雜的構圖之前，先去深入學習好基本的，當然還有比我舉例的這些之外更多的技法，我鼓勵你去探索研究它。
PI-2 by Marek Okon (Left). Blood Divided by Dan Santos (Center). Inject Me by Marc Simonetti (Right).
Leading the Eye
Now, let's take a look at some other examples of how to direct the viewer's eye to the focal point.
視覺的引導
現在來看一些會直接將觀眾引導至焦點的範例。
In PI-2, you can see how the light immediately locks your eye into the focal point because of the strength and intensity. Other factors of this are color, placement within composition (rule of thirds) and because almost everyone in the scene is looking at the focal point it creates an implied line and causes you to as well. What keeps us locked into the focal point here however is the circular motion of the people floating in the air.
在P1-2這張圖中，你可以看到那到光因為非常的有強度，所以它立即的將你的視線聚焦在焦點上，色彩其他的因素放置隱藏於三分構圖線段的焦點上，也會使很多人以及你去注意圖中的焦點。這就是將我們的注意點保持停留在圖中那些在空中環繞的角色上的原因。
在Crysis 2這張圖中，繪者用顏色、光放置在構圖中，很多很明顯來自交通工具上打下來的聚光燈跟頭燈的光，去引導觀眾注意焦點。第二點，有很多武器朝著焦點匯聚，你會直接去注意那些焦點，最後套入三分構圖法，另一個主要強調的事是彰顯它在這個區域發生了什麼事情。
這些做法很成功地去引導；明確地解釋焦點以及焦點之外的事物。
在下面的範例中，創作者用很多往焦點而去的道路支柱，我們在圖中那區塊停留很久就如同那隻龍一樣在焦點的週圍一直環繞著。
因為那些支柱位於陰影之中，而它的背後有很強烈的光直接打上它後面，繪師用很強烈的對比跟明暗去進一步的突顯重點。
在下面的作品中，我使用一些元素讓觀眾去注意焦點(城堡)，背景中的拱型彩虹跟瀑布上的橋直接讓我們往城堡而去，因為這張圖有微微的角度，協助觀眾直接注意那座山上呈現的城堡，另一個突顯的原因是在它周圍使用黃、綠、紅這些對比的顏色，使城堡跳出來。
Sorcerer's Hill
在下面的範例中，你可以透過觀察這張圖去看見它如何避免觀眾容易從你的取景構成中分心，我在這裡用了紅色彎曲的元素來構成這個景，這個方法可以讓觀眾長時間的停留在畫面中，在合裡的範圍內，它可以廣泛的使用，很容易製作，但它有個缺點，假如它被過度使用，它可能會變得很令人困擾且讓觀眾想越早結束去看它。
2. Perspective
Everything has a perspective. When standing in the street, look around and notice which side of the buildings you can see and why you see them all from different viewpoints. Then while you're at it, go ahead and look down a road, why does everything appear to get smaller as its distance is further away from you? All of these things have to deal with the perspective of those objects and your viewpoint.
2.透視法
每個事物都有透視，當你在站一條街上，觀看注意建築物的週圍你會看見所有來自不同視點的透視，然後，當你在建築物前面繼續放遠看這條路，為什麼離你越遠的東西都變的越來越小?這些都是事物跟你視點的透視有關。
Perspectives are an essential skill to learn, for architectural, environmental and many other reasons. They provide us with a way to create and build elements and objects and correctly place them within the picture plane. Perspectives rely on the horizon line (or sometimes called the eye level line) to find what is called a Vanishing Point. Vanishing points are where your perspective lines will originate (see below examples).
透視法也是建築學、環境的一切事物而需要去學習的技術。它協助我們在圖畫中去正確地建構那些元素，透視靠著在水平線上(有時候稱也稱為視平線)的而找到消失點，消失點是來自從你位置延伸出去的透視線。(讓我們來看下面的範例)
One-Point Perspective
This is the simplest of all perspectives to learn, but one that is not widely used a whole lot because of its limitations. That being said, it can be very beneficial, depending on what scene you are creating. In this perspective, there is a single vanishing point going back to the horizon line, which the object is receding to.
一點透視
這是最簡單去學的透視法，但它不是很廣泛的被使用，因為它有很多的限制，雖然這麼說，但它對你的場景是非常有幫助的。在這個透視法中，它在遠遠的水平線上只有一個點。
Two-Point Perspective
When more than one side of your object is receding back to multiple areas, you will need to use a two-point perspective system. When used, you will create two vanishing points, each on one side of the object/element. These points will again originate from the horizon line, and the perspective lines will run from this point all the way to the object. There is where you can really start to see perspectives shift.
Most times your vanishing point will be way outside of your picture, but don't worry. If working traditionally, you can always use extra paper to measure the exact distance. If working digitally, extend the canvas out until you find your vanishing point.
兩點透視
當你的物件的一邊往遠處退去，你會需要使用兩點透視的系統，使用時你會在每一個物件上建立兩的消失點，這些點會在水平線上，而從物體延伸出去的透視線會聚集到這些點上，你可以看到透視的轉變。
很多時候消失點會超過你的畫面，但別擔心，假如你是手繪的，你可以增加紙張去測量正確的距離；假如你是電繪的，延長你的版面直到你找到你的消失點。
Three-Point Perspective
The three-point system is used when you really want to convey an extreme situation. It can be useful for scenes that are playful (doing a scene from a bird's or dog's eye view), exciting (action), and many more. To achieve this perspective, you will be using the exact same system from the two-point, but adding in a third vanishing point that is either above and below the object/element.
The third point acts exactly the same as the other two, so don't get tripped up by it, there's nothing sneaky about it. The only difference here is that the top or bottom (the verticals) of your object will adhere and recede back to this point. Which is what gives us that warped look and feel.
三點透視
在三點透視的系統是用在當你要傳達比較特殊誇張的情境時，它可以讓場景很有趣(從鳥的視線、狗的視線去規劃的畫面)，很有動感以及很多很多。去完成這個透視，你會使用一些類似兩點透視的系統，但會在物件的上面或是下面再加上第三點。
這個第三點同其它兩點原因一樣，所以不要隨性的胡亂用，只有一點不一樣，它是在你的物件的上面或是下面(垂直)然後消失到那個第三點上，讓它看起來好像有點變形而且很有感覺。
Let's a look at some examples that show great use of perspective:
讓我們來看下面一些將透視實踐到很棒的作品:
3. Value
Values are the range of brightness and darkness within your image. They are white, black and everything in between. Even with color, how dark or light that color is (tints or shades) is a value. The closer something is to the foreground, the darker it will appear (depending on lighting and other things, of course), anything receding away from it will gradually get lighter as it fades into the horizon (in terms of landscapes). Take a look at the graph below and use it as a reference for when we discuss this more in depth further down.
3.明暗
明暗指的是在你圖裡的亮度與暗度，它們存在於白、黑跟其他事物之間，即使是顏色，也是有它暗或亮的明暗(色調或陰影)，最接近的物體是前景，前景會出現最深的顏色(取決於光線跟其他的東西)，任何遠離它到水平線上的事物都會漸漸消失變亮(風景畫的法則)，看下面的範例，然後當我們深入去探討的時候可以當做是一個參考。
Even more so than colors, the values of your work are one of the most vital elements of whether or not your piece will be successful. If the values do not read correctly (being able to distinguish FG from MG to BG, and/or the focal point from the surrounding area), then it won’t matter how great your composition, lighting and colors are, the piece as a whole will fail because the values don’t read properly.
比起顏色，不管怎樣，你的作品會成功最重要的因素就是你圖中的明暗，假如你明暗看起來不正確(區分前景到中景再到背景以及地區周圍的焦點)，它不會讓你做出好的構圖，光跟顏色也是如此，一整張圖的全部也都會不正確。
So, what do I mean by them being able to read properly? Well, let’s take a look. The image below is a value study by Claire Almon that was done for one of her Marie Antoinette pieces (further WIP with color is posted below this image). Take note of all of the different values within the image and how you can clearly distinguish each element apart from the other. Values help determine the overall lighting in your scene and how one object looks against another (which can help with composition and a whole list of things).
所以我該做什麼才能像我所說的意思而去達到正確的明暗?下面的圖是Claire Almon為她的Marie Antoinette其中一張的完成圖所做的明暗研究(在這張下面貼的是更進一步的顏色進度)，注意在這圖中所有不同的明暗，而且你知道如何要去清楚的區分這之中每一個元件，明暗協助你確定整個場景的光源還有如何讓物件像是彼此互相影響(它可以協助你在構圖上跟整體的物件上做很好的安排)。
最重要地，明暗區分出地平面的距離，然後它隨著這個分隔做出正確的安排，它讓觀眾順著你的計劃而引導他們去看你的焦點，最終你的作品中的色彩計劃會如同下面舉例的一樣。
Here are a couple more examples of using values correctly. Take note of the different values used within one single image/design to help tell each element apart.
這裡有兩組實踐正確明暗的範例，注意圖中不同明暗而區分出來的每一個元素。
Much like lighting, the color of your piece depends on many things; the time of day, season, location and so on. Determining the color scheme is important to do early on, even from the start if you can. Remember that things will always change and evolve, so the colors of your piece most likely will as well. As with everything, just because something looks good at one point, doesn’t necessarily mean it always will. So don’t be afraid to mix things up along the way and find something that might be better suited for what you're working on. Keep in mind that it’s very easy to go overboard with color as well, so know when not to mess with it.
4.色彩
如同光線一樣，圖畫中的顏色取決于很多方面的事物，像是一天中的時間、季節、地區等等。
在你創作的一開始先訂出色彩計劃那是很重要的，假如你可以做道是最好的。
那些影響你圖畫色彩的事物是會一直逐步改變的，所以你圖畫中的色彩八成也會如此。
他跟很多事物一樣，在某一個點上看起來很好，但他不代表是最好的，所以在你創作時不要害怕去結合各種方法與尋找可以更完美合宜的方式，記住!他也會使你陷入在顏色的影響之中，所以要知道不要被他干擾了。
Knowing how to choose your color scheme depends on the time of day, the weather/sky, what season of the year it is, and whether or not you’re on an alien planet or in space. There are countless things that could help shape the colors of your painting, so it’s best to get an idea of what they are sooner than later to minimize headaches before heading into the final stages.
如何決定色彩計劃，它取決于一天中的時間、天氣/天空、季節或是圖中的年分以及是否為異空間區域像是宇宙之類的。
有無數的事物可以幫助你建立圖畫中顏色的形體，所以在進入最終完整階段之前越早讓他有個想法計劃是最好的，避免掉後續令人頭痛的事情發生。
The color you choose should display any emotion or situation you want to convey to the viewer. If you have a fun or action piece, bright and vibrant colors might be your best bet to display that sense of action and intensity. If you're going for something a little more moody and withdrawn, you could then always opt for a darker and less saturated overall color scheme, but have your focal point be the more vibrant than the other parts. There are many variables that can lend to what type of color you use for your piece. Your job is to figure out which of them will work best.
你想傳達給觀眾的任何情感與情境應該顯示在你所選擇的顏色之中。
假如你有一張有趣又充滿動態的作品，明亮與飽和的顏色選擇上會顯示出畫中的動態與強烈的感覺。
若是想做出一些情緒不穩、低沉、悲劇的作品，全部的色彩計劃就要偏向黑暗系、低飽和的色彩，但是你的重點位置可以用比其他部分更鮮豔飽和一些的顏色。
色彩有很多可變的因素，可以利用這些因素特性去使用在你的創作中，你的工作就是去理解出什麼的色彩計劃是對作品最好的計劃。
Here are some examples of how color is used effectively to help storytelling, emotion and to guide the viewer's eye:
這裡有一些範例告訴我們顏色如何有效地幫助創作者去表達情感以及引導觀眾：
In the GOLEM image, the artist has built strong color around the focal point, which clearly signifies where most of your attention should be payed. The colors that surround the toy figure lend to this piece's playful nature, as well as add a layer of mystery and fantasy. The outer parts of the composition have earth tones, which are not too saturated. This helps the focal point further stand apart from the rest of the image (while maintaining balance) and allows for the playful side of the subject/theme to be fully explored.
創作者在焦點的四周用一些強烈的顏色，明確地標示出你應該注意到的地方，這個環繞玩具的顏色讓我們理解出在這一區有一些超自然的事情發生，如同覆蓋上一層神秘奇幻的色彩，在他以外的部分是較不飽和的大地色調，這做法可以幫助突顯焦點(當畫面維持平衡時)且讓觀眾更進一步的去研究主題中有趣的一面。
Here we have a contrast of color, which makes the focal point stand out. This is one of the most-used ways of using color to achieve good composition because it is both effective and dramatic in terms of composition and storytelling.
在這張裡使用對比的顏色去使焦點凸顯，對比是最常被使用去實行好的構圖的方法，因為他在構圖上是最有效且最戲劇性的技法。
In this piece, I used the holographic screens on the landing pads to set it apart from all of the other elements in the scene. Since it is the most saturated part in the composition, I knew the viewer's eye would always eventually gravitate back to this area because it was the most interesting. I also wanted the feeling of an older science fiction work, so I stayed away from really vibrant colors.
我使用一張全部的事物都正在降落中的全場景圖，從他構圖中最飽和的部分得知觀眾都會被這區吸引，因為他是最有趣的，我也想感受這個古老的科學作品，所以我也會停留在最飽和的顏色位置上。
Like all major elements of art, lighting is crucial. Mainly because the average viewer knows what realistic lighting looks like, even if they don’t know exactly what it is that makes it look real. They can usually tell if something is working or not. Sometimes you can get lucky and fool them, but most times it can break your shot and make all the hard work that was put into your piece wasted time and work. And that's definitely not what we want.
5.光
如同藝術的所有主要元素，光是關鍵，這主要是因為大部分的觀眾都知道真實的光看起像什麼，即使他們不知道是什麼使物體看起來逼真。
有些時候你可以很幸運的瞞過那些觀眾，但大部分的機會他都可能會毀了你的景且浪費掉你所投入的辛勞，那絕不是我們想要的結果。
如同藝術的所有主要元素，光是關鍵，這主要是因為大部分的觀眾都知道真實的光看起像什麼，即使他們不知道是什麼使物體看起來逼真。
有些時候你可以很幸運的瞞過那些觀眾，但大部分的機會他都可能會毀了你的景且浪費掉你所投入的辛勞，那絕不是我們想要的結果。
So, in order to know how light reacts to the environment and different materials, go outside and study it. If you are basing a piece off of something else (e.g., you’re your photographic plate in terms of matte painting or anatomy for painters), study it until you can confidently tell somebody else how it looks, feels and functions. Using photos is fine, but there’s an almost infinite source just outside those walls you are in waiting for you.
所以為了知道光會在環境與同的物體上出現怎樣的反應，你必須出去外面觀察他研究他。
除非你是有一個基本的什麼東西當做基礎下去創作(例如： 你有matte painting的照片資料庫或是藝用解剖學)。
學習直到你能理直氣壯的跟觀眾表達出你要表達的外觀、感覺、與功能，使用照片當然也可以，但在外面有無限的來源等著你去發掘。
Much like color, lighting can convey much emotion and depth. Let's take a look at how this can be achieved.
跟顏色很像，光可傳達很多的情感與深度，讓我們來看這些實踐到的範例：
Once again, in the image below, there is strong lighting that's being cast on the focal point. The shadows in the foreground create depth in the image and allow for the viewer to get a clear view of the focal area without the foreground going unnoticed. Because the foreground is in almost complete shadow and the midground is where we see most of our light, this allows for the viewer to have a greater impact on the focal point and what is happening in the scene. Almost immediately they see the destruction of the world around them as if they were there on the street.
再一次，如下圖，有一道強烈的光投射在焦點上，圖中前景的陰影產生出深度，且讓觀眾忽略掉前景，清楚的看見重點的地區。
因為前景幾乎是完整的影子，在中景我們可以看到大部分的光，他讓觀眾看見在焦點上所發生的事情有較大的感受力。
觀眾好像可以站在那條街上看見景中那個世界的毀壞。
大師的創作也不例外，下圖是Dylan的作品，前景跟背景同時被清楚的照亮顯示出來，他用構圖使你朝著背景中的重點前進然後注意焦點。
Conclusion
So now that we've covered all of these topics, I'm sure you're wondering how to use and incorporate them into your work. This, just like anything else, is about becoming familiar with them and practicing until you have a clear understanding of what they are and how to use them properly. Remember that we all learn differently, so if it doesn't come easy to you don't be discouraged. Just keep pressing on with small studies of each of these topics. After a while of doing them, you will notice things that you hadn't before and that is when you will start to learn and really push yourself.
結論
所以我們討論完以上這些主題了，我很確定你想知道如何去合併這些資訊進去你的作品中，這些就跟任何事物一樣，關係到你要變得很熟悉他並且練習直到你清楚的明白他是什麼，還有，正確地使用他們。
記住我們所學習的方式是不一樣的，所以他可能會使你學習起來不是那麼容易，但別洩氣，就是一直去慢慢練習所有的主題，過一段時間你會發現你之前沒有的東西，而且那是當你在學習之前真正讓你往前進的事物。
Thanks for taking the time to read this article. I really hope you are able to take from this and apply it to your work and learn from it. Just remember that every great artist that you look up to started from the bottom and had to work their way through all of these skills. Continue to push yourself in the right direction with a strong goal in mind and you can become great at what you do.
謝謝你花時間閱讀這篇，我很希望你能在創作時應用它，且從它之中有學習到東西，記住，每個好的藝術家都是從基礎的底端開始的，而且也要去遵循這些技術規則。
繼續去往你心中正確的目標方向前進，然後你所做的努力就可以變成讓你更好。
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