Space, Depth, and Proportion
AP Drawing Topic 3 7:45 English narration · English + 中文 subtitles burned in
Chapters
Transcript
Look down this road.
看这条公路。
Its two edges are exactly parallel. They never meet.
它的两条边完全平行，永远不会相交。
But in this photograph they run together and touch, far away.
但在这张照片里，它们越靠越近，最后在远处汇合。
Your eye read depth out of a flat picture.
你的眼睛从一张平面的图片里读出了纵深。
Drawing does the same trick, on purpose.
绘画做的正是同一个把戏，只不过是有意为之。
Today we learn the rules that build space on a flat sheet of paper.
今天我们来学习在一张平的纸上建立空间的规则。
Here is the plan.
这是本节的安排。
First, measuring: how to sight what is really in front of you.
首先是测量：如何目测眼前真实的样子。
Then linear perspective, with one point, two points, and three.
然后是透视，包括一点、两点和三点。
Then foreshortening, for a form that points straight at you.
接着是透视缩短，用于朝向你的形体。
Then atmospheric perspective, which builds depth out of tone alone.
再然后是空气透视，它只用明暗就能造出纵深。
And last, composition and the human figure.
最后是构图和人体。
Before you draw a single line, measure with comparative measurement.
在你画下第一根线之前，先测量。
Hold your pencil at arm's length, elbow locked, one eye closed.
伸直手臂拿住铅笔，肘部锁死，闭上一只眼睛。
Now the pencil is a ruler.
现在铅笔就是一把尺子。
Pick one unit — here, the height of the cup.
选一个单位——这里用杯子的高度。
Then compare everything else to that unit.
然后把其他一切都和这个单位比较。
The bottle is two and a half cups tall.
瓶子有两个半杯子那么高。
Let a plumb line fall, and see which edges sit above which.
再放下一条铅垂线，看看哪些边正好在另一些边的上方。
And draw the envelope first, the one big shape that holds the group.
还有，先画外包形，也就是装下整组物体的那个大形状。
One-point perspective.
一点透视。
Draw the horizon line first: it is always your eye level, not the middle of the page.
先画视平线：它永远是你的眼睛高度，而不是画面的中间。
Put a single vanishing point on it.
在它上面定一个灭点。
The front face of the box stays true, with no distortion.
盒子的正面保持原样，没有变形。
Every edge that runs away from you aims at that one point.
每一条向远处延伸的边都指向那一个点。
Choose the depth, and the box appears.
再定下深度，盒子就出现了。
Rooms, corridors and straight streets all work this way.
房间、走廊和笔直的街道都是这样画的。
Compare the two.
比较这两幅图。
On the left, one point.
左边是一点透视。
You face the box straight on, so only the depth lines converge, and everything else stays square.
你正对着盒子，所以只有向深处的线会汇聚， 其余的都保持方正。
On the right, the box is turned, so you see two faces, and each set of edges runs to its own point, one left and one right.
右边的盒子转了个角度，所以你能看到两个面， 每一组边各自跑向自己的点，一个在左，一个在右。
In both drawings the horizon line is your eye level.
在两幅图里，视平线都是你的眼睛高度。
And in both, the verticals stay vertical.
而且在两幅图里，竖线都保持竖直。
Turn the box until you see its corner, and one point is not enough.
把盒子转到你正对着它的一条棱，一个点就不够用了。
The left-hand edges run to a point on the left, and the right-hand edges to a point on the right.
左边的那组边跑向左边的点，右边的那组边跑向右边的点。
The corner nearest you stays a true vertical.
离你最近的那条棱仍然是真正的竖直线。
Keep the two points far apart — often off the paper.
让两个点离得远一些，常常远到纸面之外。
Push them close together and the box bulges, like a fisheye lens.
把它们挤得太近，盒子就会鼓起来，像鱼眼镜头一样。
Here is the same box as a tower, drawn in two-point.
这就是刚才那个盒子，画成一座塔，用的是两点透视。
Now stand at its foot and look up.
现在站到塔脚下往上看。
A third vanishing point appears, high above your head.
在你头顶高处出现了第三个灭点。
The verticals lean in toward it, and the tower falls away from you.
竖线朝它倾斜，塔像在向后倒去。
That is three-point perspective: a skyscraper seen from the pavement.
这就是三点透视：从人行道上仰看摩天大楼。
Keep your points far apart.
让你的点离得远一些。
Crowd them and the drawing turns into a fisheye.
把它们挤在一起，画面就会变成鱼眼。
Foreshortening is perspective inside a single form.
透视缩短，就是发生在一个形体内部的透视。
Watch this arm as it turns toward you.
看这条手臂朝你转过来。
Its real length never changes, but the length you see collapses.
它真实的长度从来没有变，但你看到的长度却在急剧缩短。
A pointing arm can look one third as long.
一条指向你的手臂，看上去可能只有真实长度的三分之一。
So draw the apparent shape, not the length you know.
所以要画你看到的形状，而不是你知道的长度。
Two things will save you.
有两样东西能救你。
Overlap: the hand covers the forearm, and the forearm covers the upper arm.
一是遮挡：手挡住前臂，前臂挡住上臂。
And cross-sections: imagine rings around the form.
二是横截面：想象一圈圈套在形体上的环。
So how do you practise it?
那么该怎么练习呢？
Measure the foreshortened length by sighting, because memory always lies about it.
用目测去量缩短后的长度，因为记忆在这件事上总是骗人。
Then find the overlaps and draw them clearly, because overlap is what tells the viewer which part is nearer.
然后找出遮挡关系，把它们画清楚，因为遮挡告诉观者哪一部分更近。
Think in cross-sections, like rings around a tube.
要按横截面去想，像一圈圈套在管子上的环。
And try the classic exercise: draw a person lying down, seen from the feet.
再试试那个经典练习：画一个躺着的人，从脚的方向看过去。
Now depth with no lines at all.
现在来看完全不用线条的纵深。
Air is not perfectly clear.
空气并不是完全透明的。
It scatters light, so contrast fades with distance.
它会散射光线，所以对比度随着距离而减弱。
The far ridge turns pale, cool, soft and flat.
远处的山脊变得浅淡、偏冷、柔和而平。
The near ridge keeps the darkest darks and the sharpest edges.
近处的山脊保留最深的暗部和最清晰的边缘。
Watch what happens if you give a far shape the same strong value as a near one: the depth collapses at once.
看看如果你把远处的形体画成和近处一样重的明暗，会发生什么： 纵深立刻塌掉。
Here it is in the world.
这就是现实中的样子。
Ridge behind ridge, and nothing but tone separates them.
山脊一层叠一层，把它们分开的只有明暗。
Each one is paler and softer than the one in front of it.
每一层都比它前面的一层更浅、更柔。
In a graphite drawing you copy this.
用铅笔画的时候，你要照搬这一点。
Save your black and your white for the foreground.
把最黑和最白留给前景。
Let the distance live in the middle greys, and soften its edges with an eraser.
让远处停留在中间灰里，再用橡皮把它的边缘擦柔。
Composition is the arrangement on the picture plane — the first thing anyone sees.
构图就是画面边框以内的安排，也是任何人最先看到的东西。
Start with the edges themselves: crop like a designer — what you crop out is as expressive as what you keep. Change the viewpoint and the crop changes.
先从边框本身开始：你裁掉的部分和你留下的部分同样有表现力。
Put your subject dead centre, and the picture splits in half.
把主体放在正中间，画面就被分成两半。
The rule of thirds does better.
三分法更好用。
Divide the rectangle in three, both ways, then move the subject onto a third line.
把矩形横竖各分成三份，然后把主体移到一条三分线上。
And keep the figure-ground relationship readable: design the negative space so the eye knows subject from background.
还要设计负空间：那些空白的形状也是你画出来的形状。
Hokusai built this print the same way.
葛饰北斋就是这样构建这幅版画的。
The great wave rises on the left third, and its claw of foam curls over the boats.
巨浪在左边的三分线上升起， 它那爪子一样的浪花卷过小船。
Mount Fuji sits small and low, right where two third-lines cross: a mountain made tiny so the wave can be enormous.
富士山又小又低，正好落在两条三分线相交的地方： 把山画得很小，浪才能显得巨大。
Now look at the empty sky.
现在看那片空空的天空。
It is not left over, it is designed.
它不是剩下来的，而是设计出来的。
The near water is dark and detailed, the far mountain pale and simple.
近处的水又深又有细节，远处的山浅淡而简单。
Every rule of this lesson lives in one picture.
这节课的每一条规则，都住在这一幅画里。
The figure brings every skill together, and proportion comes first.
人体把所有技能都集中在一起，而比例是第一位的。
Use the head as your unit.
用头作为你的单位。
The classic adult figure is about seven and a half heads tall.
成年人的经典比例大约是七个半头高。
The halfway point of the whole body is near the hip, not the waist, and beginners nearly always place it too high.
整个身体的一半在髋部附近，而不是腰部，初学者几乎总是把它画得太高。
In the head itself, the eyes sit on the halfway line of the skull, with the nose and the mouth below them.
在头部本身，眼睛落在头骨高度的一半线上，鼻子和嘴在它们下面。
Draw the big masses first: skull, ribcage, pelvis.
先画大的体块：头骨、胸廓、骨盆。
Hands and faces come last.
手和五官放到最后。
Let's check a real drawing.
我们来检查一张真实的画。
First, sight the head: that is one unit.
首先，目测头部：那就是一个单位。
Step it down the page and count.
把它沿着画面往下量，一格一格地数。
This drawing comes to six and a half heads, but the classic figure is about seven and a half.
这张画量下来是六个半头， 但经典比例大约是七个半头。
So something is too short.
所以有什么地方画短了。
Which part?
是哪里呢？
Find the halfway point of the drawing, and compare it with the hip.
找出这张画的中点，把它和髋部比较。
The halfway mark sits above the hip, up in the waist, so the legs are the short part.
中点落在髋部上方，落在腰的位置， 所以腿就是画短的那部分。
The fix is to add about one more head below the hip.
改法是在髋部以下再加大约一个头。
Now the figure is seven and a half heads tall, and the halfway mark lands on the hip.
现在这个人有七个半头高，中点也正好落在髋部。
There is a second check, and it is the one a scorer notices first.
还有第二项检查，而且这一项评分老师最先注意到。
Before you spend three hours shading, lay a ruler along every depth line and follow it to the horizon.
在你花三个小时铺明暗之前，把尺子沿着每一条纵深线放好，一直跟到视平线。
Each one must arrive at its own vanishing point.
每一条都必须落到它自己的灭点上。
Perspective mistakes are the easiest errors to see and the cheapest to fix, but only while the drawing is still light.
透视错误最容易被看出来，也最容易改，但前提是画还很轻的时候。
And include one strong observational space in your portfolio: an interior, a stairwell, a street.
另外，在作品集里放进一件有力的写生空间：一个室内、一段楼梯或一条街道。
Three marks students lose.
学生最常丢的三处分。
First, aim every depth line at its point before you render: perspective errors are the easiest mistake to spot.
第一，在上明暗之前，让每一条纵深线都对准它的灭点： 透视错误是最容易被看出来的错。
Second, show one real foreshortened form in the portfolio — foreshortening is high-value evidence.
第二，在作品集里放进一件真正带透视缩短的形体。
It proves you draw what you see, not what you remember.
它证明你画的是你看到的，而不是你记住的。
Third, test three crops with a viewfinder before you start, because composition is judged in the first second.
第三，动笔前用取景框试三种裁剪，因为构图是在第一秒就被判断的。
And soften far edges: atmospheric perspective works in graphite too.
还有，把远处的边缘擦柔：空气透视在铅笔画里同样有效。