?P19 - 00:03。 Time has come for you to start implementing everything we've learned so far.開始用我們目前學(xué)到的一切。也希望你記得我們學(xué)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. 我們把屏幕劃分為網(wǎng)格來開始探討。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. 實際上是前景 中景 背景三部分組成的。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, 有時候前景 背景，沒有中景。because the Images were simple.?

P19 - 01:08想像成層巒疊嶂的山。?

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. 越是遠處的越是云霧繚繞，越是褪出一樣。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. 你看著層巒疊嶂的山，感覺要不要分中景，半中景，背景，簡單的回答是，你只需要三個，前中后三個背景。?

P19 - 01:34三種顏色。?

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. 還記得我們第一次的黑白閾值課程嗎，這里前中后背景用到了，確實都是相銜接的。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. 我們簡化下圖像，因為你需要增加圖層的復(fù)雜性，因為我們想通過價值來劃分。?

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, 還記得之前足球案例嘛？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. 針對聚焦問題你可以選擇任何層面，經(jīng)典人們聚焦中景。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馬，所以選擇聚焦中景。?

P19 - 02:32如果你有兩層。?

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. 另外一種常見的情況，如果你僅僅有前景和背景兩層，一般選擇前景。?

P19 - 02:44總而言之，?

As a general rule of thumb, when you're painting, the foreground is typically darker. 一般你繪制的前景黑暗的，And then the middle ground is lighter in the background is lightest. 中景較明亮，背景最明亮。This is because this is exactly what we see in nature most of the time, 因為這是我們在自然中看到的大部分時間。and is most applicable to environment heavy pieces Is involving natural light. 因為融入環(huán)境的涉及到自然光。?

P19 - 03:06山的黑白閾值。?

When you look at the mountains, you know that the mountain closest to you is typically the darkest one. 你知道離著你最近的山最黑的山。And then they slowly fade and fade into the background. The background is the lightest.逐漸褪色到背景，背景是最亮的。 This applies whether it's a rule or a jungle. The dark is is typically in the front. 不管有規(guī)則還是無規(guī)則，黑暗的都是放在最前面的。?

P19 - 03:18另一個經(jīng)驗規(guī)則。?

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. 若是兩個物體的閾值越接近，這兩個物體物理上越接近。比如，如果我選擇山，讓變得更黑。 感覺更接近于前景山。所以與背景的距離相比，中景看似更接近前景。?

P19 - 03:41如果遠山過于發(fā)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. 比如我把遠山背景顏色變得更亮，這樣前景看起來距離我們更近，中景看起來也是遠離的。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. 這是非常簡單的概念，你越是早點用于自己的繪制，你的繪制就越早給到這種效果。如果一個人親自目睹喜馬拉雅的風(fēng)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.你常常在夜間看到，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. 比如場景里有火，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淺背景沒有非常自然的過度，如果光源把新光加入給場景。 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.人們總是害怕細節(jié)不到失真，如果閾值大差不差辨識度不高。但是這種“錯誤”隨處可見。 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. 你會在《奇怪的魔法》和《up》中，有混淆前后背景的是因為找不到銜接過度。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. 有時候你需要失真為了突出清晰的分水嶺。?

P19 - 05:21舉例子說明分水嶺。?

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. 看這些山，到處都是，閾值從0到100劃分。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. 你想給閾值黑中亮度。通過用閾值數(shù)據(jù)標尺，多亮多暗通過標準數(shù)據(jù)來標注。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的范圍，中景是40-60范圍，背景是90-100的范圍。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. 差異可以是30-40，在數(shù)據(jù)間有明顯差異的。需要確保你有前景 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. 大部分人開始繪制按亮的繪制閾值。一切都匯集在一起。但是區(qū)分度不夠，這樣不算好的繪制。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，多檢查一次黑白閾值，看看中前背景的辨識度。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. 不要這樣看到淺灰色 深灰色，也會標注為不同的閾值。要從全局黑白灰來看。?

P19 - 06:57自問自答。?

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, 我們首先做黑白色，因為這是驅(qū)動繪畫的核心。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. 因為這圖層可以給到你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.?