門之旅

哈哈，在下剛剛在FA看到某喜歡的畫家提供關於色彩運用的論文
所以決定轉來這兒和大家分享
不過有個問題，就是此論文都是英文XD""
目前還抽不出時間來做翻譯，所以在那之前大家就大體看看先吧
或是去找J.C幫忙翻譯

http://www.furaffinity.net/view/3678185/
這個是論文網址（外加圖畫助解
以下是論文=D
In color theory, colors are thought of in terms of three basic components:
在彩色學裏，色彩一般都被分爲三大基本組成部分

1) Hue is what most people think of when they think of "color" -- is it blue? Is it red? Is it green? Those are all hues.
1.色相是大多數人在討論顔色時會想起的，是紅色嗎？藍色？青色？這些都是色相。

2) Saturation is the intensity of the color and its purity from white or gray -- is it an electric blue, a pastel blue (mixed with white), or a slate blue (mixed with gray)? Another word for saturation is chroma.
2.飽和是指顔色從鮮度到白色或灰色的純度變化，比如碘色（彩虹中最續藍色過後的深藍色），柔藍（摻白）或是石藍（摻灰），飽和的另一個名稱爲彩度

3) Value is the darkness or lightness of a color. You can think of this as how close a color is to absolute white (the lightest value possible) or absolute black (the darkest).
3.明度是顔色亮度和暗度變化。你可以聯想的是一個顔色如何越來越白，或是越來越黑

Each of these components is equally important in determining how the eye perceives a color, but when it comes to distinguishing boundaries between objects and reading depth cues, the most important of these is value. That makes a sort of intuitive sense when you think that we can make spatial sense of black-and-white films fine, and that dogs and cats and other animals without trichromatic color vision can still get around fine without bonking into things.
這每一個的部分在我們的肉眼如何去確定任何一個顔色中都相同重要，不過當面對於區分不同的物體和閱讀深度線索界限時，明度占了最重要的位子。他會給於一種直視感當你嘗試在黑白影片裏取得良好的空間感、以及那些沒有三色色覺的動物（色盲意思）得以清楚分辨東西不至於在走路時撞上。

For the artist, that means that before you even begin to worry about what color to make something, you should have a firm understanding of the underlying values to ensure that your painting will read clearly. Classical painters would often draw entire scenes out in charcoal on the canvas, then paint over that drawing (called a "comprehensive") in oils. Whether you're painting in oil, or working digitally, or using colored pencils, markers, or any other medium, the same principle holds true.
對於一名畫家來說，這個就說明了當你在猶豫是用什麽顔色來呈現一樣東西之前，你需要堅定的知道最基本的明度分辨，好使你的畫得以看得清楚。古典畫家通常會先用炭筆在畫布上繪制整個場景的分布，才用油畫來蓋過草稿。不管你用任何媒介，電繪，手繪也好，都是相同的理論。

When composing an image, give conscious thought to the value boundaries -- the areas where dark meets light, or mid-tones meet shadows, etc. The more a value boundary contrasts (ie, the difference between the two values), the more attention it will attract from the viewer. Use that fact to your advantage by adding areas of high contrast where you want the viewer to look, and using lower contrast in areas of less visual importance.
當你在構成一個圖片時，請在明度的範圍分布給於知覺性的思考——暗色的部分會和亮色的部分相配，或是中色的部分和陰影在一起，舉例來說，明度邊界的比例越強，更多的注意力會被觀看者所吸引。你要利用這個景況作爲你的好處，把你希望觀看者強烈注意的地方放上非常強烈的對比，並在不那麽主要的地方放上比較弱的對比。

By way of illustration, look at this quick classic-style portrait. The area of highest contrast is the right side of the face (his left), which is also the lightest value in the entire image. The dark eye stands out and calls attention, and the background that abuts the top of the head, his left ear, and cheek are dark for contrast.
通過插畫的方式，看著上面那張我畫的速成古典風格的肖像。那個強烈對比的部分是在右側的臉（則畫內人物的左）同時也是整幅畫裏最亮的部分，黑色的眼睛得以突出和抓住注意，而頭部上方的背景，會使用和人物的頭部，左耳的部分，臉頰黑色來做對比。

The opposite side of his face is in shadow, so the background was made light to maintain contrast. If the background stayed dark there, the edge of his face would become lost in that shadow, and we would not see the shape of his head as clearly. In some cases, this may be the effect you're after! But if you want his head and face to be the focal point of the image, keeping maximum contrast is key.
而人物另一邊的臉頰是處於陰影部分，所以那個部分的背景則改用兩色來作出對比。如果這背景繼續使用黑色，臉頰的邊緣將會形同消失進入影子，我們也將會看不清臉頰的輪廓。在某些情況下，這也許是你所需要的效果。但是如果你是要他的臉成爲整幅圖的重點，關鍵就是保持最高的對比。

His collar and cloak are extremely dark, and the background is a mid-tone along the slope of his shoulders to make his silhouette clear. When followed further down, the background gets darker, de-emphasizing the silhouette in order to allow the figure's hands (light and mid-tone against dark) to stand out more.
他的衣領和鬥篷是非常黑暗的，而背景沿著他的肩膀斜坡都是采用中色來使他的身影清晰。當在往下發展時，背景會越來越黑，再不強調輪廓的情況下來突出肖像的手掌部分。（亮色和中色對上暗色）

By making the hands darker (and therefore less in contrast) than the face, it is less likely that the viewer's eye will go to the hands before the face. If you wanted to make his hands the focus of the image, you could reverse those relationships, making the hands the lightest values in the image and casting all of the face into slight shadow, in less contrast against the background.
要使手的部分更加的暗過臉的部分（則比較弱的對比），會使得觀看者不會先從手的部分延伸才看到臉部（就是說會先看到臉部）。除非你想把手的部分作爲焦點，你可以把之前所提的全部關係給反轉，整幅圖給於手部最亮的明度，和鑄造臉部成爲和背景的對比弱的陰影部分。

By consciously maintaining clear value boundaries, you can build very complex scenes without them feeling busy or chaotic, and can direct the flow of the viewer's eye throughout your piece to some extent, ensuring that they focus on what you want them to focus on without getting distracted by unimportant details.
通過保持明確的明度分布範圍上的直覺感，你可以建設一個非常複雜的場景但是卻不會造成繁忙或是混亂的感覺，並且可以讓觀看者的眼睛在你作品裏會隨著你的指示流向，並在一定程度上，確保他們會完全的集中觀看你希望他們想要觀看的重點，而且不會受到其他
不重要的細節而分心焦點。

If you're working digitally in Photoshop, a very easy way to check your value relationships is to add a Hue/Saturation adjustment layer, and set the "Saturation" slider down to -100. This will allow you to view your image in black and white -- you can keep that adjustment layer hidden at the top of your document and toggle it on from time to time to check as you paint.
當你是在采用PS進行電繪時，最簡單的方式來讓你去檢查圖的明度關係就是加上 hue/saturation 調整的圖層，然後把飽和度調到-100。這可以讓你清楚看到你的圖的黑白版——並且放在最頂端的圖層，以便可以隨時關上和打開這個調整圖層來檢查你的畫的明度分界。

For folks working in traditional media, a black-and-white photocopy works well, or even a digital camera with a black-and-white photo mode.
對於傳統媒體的人，黑白色影印工程將會是有效的，或是可以采用黑白色照片模式數碼相機。

I hope this helps get folks thinking about value!
我希望這個能夠幫上各位對於明度的思考和運用！

開始前三段可以去在下之前貼的色彩學看解釋
http://wolfbbs.net/weblog_entry.php?e=16047
然後在下順其自然地想起色彩學還有兩篇還沒打出來啊哈哈orz
以上，會想辦法抽出時間的=D