04 Lesson 1 - Values Part 4 - Notan vs Chiaroscuro

?When it comes to decipher to black and white values, there are two main ways.當(dāng)涉及到黑白閾值辨別的難點(diǎn)，主要是Notan和Chiaroscuro兩個(gè)學(xué)說(shuō)， Notan versus chiaroscuro.我知道兩個(gè)華麗的專有名詞。Yeah, I know too fancy words right off the bat. ?

P4 - 00:16從Notan講起。?

從Notan說(shuō)起，這是日本一個(gè)設(shè)計(jì)概念，涉及并排放一起的明暗元素的板塊和位置。 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.以及藝術(shù)和圖像的合成。And the composition of art and imagery. Okay. ?

P4 - 00:30通俗易懂解釋Notan??

簡(jiǎn)而言之，Notan是光影隨行在一起的排列組合方式。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，但今天強(qiáng)調(diào)的是局部閾值。別擔(dān)心，我會(huì)拓展講述。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。?

為什么說(shuō)概念源自日本設(shè)計(jì)理念呢？Now the concept of Notan derives from the Japanese origin is a Japanese design concept, 因?yàn)槿毡緜鹘y(tǒng)木刻版畫(huà)藝術(shù)家只能平面繪畫(huà)，不是西方可以混合調(diào)料的繪畫(huà)風(fēng)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. 木刻版畫(huà)用平面顏色壓印而成。in Japanese woodblock printing. It made a lot more sense to just use a flat color since you were essentially just stamping it on.意味著，頭發(fā)顏色是黑色，皮膚是另一種顏色，襯衫也是另外一種顏色。This means that the hair would be black. The skin will be another tone, and then the shirt and other tone as well. 類似的，皮膚是一個(gè)色調(diào)，頭發(fā)是一個(gè)色調(diào)，Same thing here. You can see the skin is all one shade. The hair is all one shade. 襯衫色調(diào)或者紅色或者黃色，但都是平面色塊。And then the shirt is either a red or yellow, but they're all flat blocks of colour.?

P4 - 01:33看看另一個(gè)著名畫(huà)師的風(fēng)格。?

Let's take a look at Hook side. One of the most famous painters. 著名畫(huà)家也是用局部閾值。You will see that he's essentially painting only with local value. ?

P4 - 01:42局部閾值的概念。?

局部值概念是沒(méi)有陰影的物件的描摹。 Local value means what is this item with no shadows? 分析這幅作品中局部值，浪涌起高處的泡沫是一個(gè)色塊白色，水顏色完全藍(lán)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.船是另一個(gè)實(shí)體顏色。 And in the boat is another single solid color.右側(cè)馬的顏色，純紅色塊。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，水本身是藍(lán)色， The humans are white, and again, the foam of the water is white, and the water itself is blue. 另外，樹(shù)顏色是黃綠混合色，Additionally, the trees are a mixture of green and yellow. 并沒(méi)有太多別的色塊。There isn't much shading going on necessarily. 每個(gè)元素都選擇平面顏色。And each of these items are painted exactly one flat color.?

P4 - 02:22光源。?

如果你硬要問(wèn)有沒(méi)有光源這問(wèn)題，我很難回答有或無(wú)，因?yàn)檫@光線充足平鋪到整個(gè)畫(huà)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再分析下另兩個(gè)作品。?

Let's take a look again at these two paintings. 你發(fā)現(xiàn)是我之前提到的規(guī)律，You will see that just as I mentioned earlier, 畫(huà)幅每個(gè)構(gòu)成部分都是平面畫(huà)塊。every single component of this painting are painted with a very flat value. 顏色是專屬色局部區(qū)域。And they're colored specifically with the local value.?

P4 - 02:43本質(zhì)上說(shuō)？?

So essentially,開(kāi)頭定義沒(méi)有陰影的物件什么意思呢？ what is this item without shadows?在這案例中，頭發(fā)沒(méi)有陰影色是純黑色。Well, in that case, hair without shadows is still just black. 皮膚沒(méi)有陰影就是泛白的黃色。A skin without any shadow will just be this one solidified pale yellow white colour.襯衫和格紋長(zhǎng)袍是一個(gè)道理。 And the same thing with the shirt or this guy's plaid robe. ?

P4 - 03:00總結(jié)Notan的理念？?

This is the idea of Notan. 用強(qiáng)烈的黑白對(duì)比色毗鄰。Having this strong black and white elements next to each other. 黑白分明，頭發(fā)在亮色皮膚襯托下更黑，皮膚在黑發(fā)襯托下更亮。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對(duì)比看。?

在他的年代是以光影運(yùn)用得體而聞名的，Now let's compare this to Rembrandt. Rembrandt was a very famous at his time for his usage of light and shadow. 在光影藝術(shù)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把他作品轉(zhuǎn)化到黑白色。?

Let’s quickly turn his paintings as a black and white.你會(huì)看到非常強(qiáng)大的“點(diǎn)光源“效果。And you'll see that there's a really strong usage of light and dark.近光源頭頂部頭發(fā)幾乎鋪滿光照。Notice how this entire section right here is completely covered. 被頭發(fā)遮蓋下鬢角部分完全黑色的。不被遮蓋的皮膚是亮色的。It essentially darkness. And then this little patch of skin is light。?

P4 - 03:44右側(cè)圖。?

光打亮的膚色和照不到的陰影膚色形成鮮明對(duì)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.背光的膚色和頭發(fā)色是一個(gè)陰影色。右側(cè)男人背光面部和喉嚨褶皺都是陰影。 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. 所以和物體對(duì)于色塊理論無(wú)關(guān)。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.亮色針對(duì)皮膚，暗色針對(duì)襯衫。在背光陰影和投射視角，模糊了不同物體界限。It doesn't matter. The skin is a lighter color or that the shirt was a darker color. 陰影都是會(huì)安如塵埃。不管是皮膚還是衣服。When he paints shadow, it all falls into ducks. 而皮膚和衣服對(duì)應(yīng)不同色塊是Chiaroscuro的概念。?

P4 - 04:34C合成詞概念是什么？?

"Chiaro"意思亮度，"Scuro"意思陰影。合在一起意味著光與影，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比較，?

兩個(gè)黑白底圖進(jìn)行對(duì)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黑白色閾值是由局部值決定的。In Notan. The black and white values are determined by the local value. 具體局部按照皮膚和頭發(fā)不同材質(zhì)劃分的。So the skin and the hair, ?

P4 - 04:57對(duì)比而言。?

但是在Chiaroscuro價(jià)值由光決定的，however, in Chiaroscuro, the values that are determined by the light here. In the shadow.為通俗易懂再簡(jiǎn)化叫法。And now to make it even easier, we don't even need to call it Notan and chiaroscuro. 我們可以叫做局部值和陰影值。We can call it simply local value and shadow value instead. Much simpler. 可以拜見(jiàn)朋友時(shí)候炫耀一下原稱謂的冷知識(shí)。Although if you go to your friend and start saying Notan and Chiaroscuro, you can totally flex your cool art knowledge. 所以以上就是兩個(gè)主要的基本的黑白值的分類。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如何應(yīng)用。?

我們談?wù)搩蓚€(gè)學(xué)術(shù)流派理論如何應(yīng)用到現(xiàn)代創(chuàng)作中，因?yàn)槲覀儸F(xiàn)實(shí)并不是只能臨摹“Rembrandt”繪畫(huà)和日本木刻版畫(huà)。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. 都是一定程度的綜合運(yùn)用。Everything is actually on a scale. 有些繪制偏向局部值多一些，有些繪制偏向陰影值多一些。有些繪制恰到好處的折中。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.你自己決定什么情況用什么，思慮清楚哪一個(gè)更適合你。So you get to decide when to use which method and also think about which one would suit you more. ?

P4 - 05:50什么情況適合用什么？?

針對(duì)Notan繪畫(huà)方式對(duì)局部值有大量信息的幫助。Notan paintings are great for describing the local value of something. So they give a lot of Information, 而Chiaroscuro繪制告訴光影的信息。whereas Chiaroscuro paintings obviously tell you a lot more about lighting and shadow. 有戲劇性對(duì)比效果，同時(shí)傳遞某種情緒，So they're great for things like dramatic effect. And to convey a certain mood,?

P4 - 06:03舉例子《毀滅之路》。?

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?yàn)橛删植恐祬^(qū)分的。In this example, you can see the black-and-white values work because they are separated by local value.比如男孩的白襯衫和黑褲子形成鮮明對(duì)比。 You have the boy and his shirt, which is a very stark contrast from the pants, 在海洋襯托下格外醒目。which stands out really well against the ocean right here. 更不用說(shuō)頭發(fā)另一個(gè)閾值。Not to mention his hair is also another value. 深黑色發(fā)色和亮色海洋形成對(duì)比，Dark black against again this light ocean, 讓人物輪廓分外醒目。which really gets to bring him out in a silhouette.?

P4 - 06:30《毀滅之路》電影另一個(gè)例子。?

我分析Chiaroscuro應(yīng)用成分多一些，Whereas in this screen shot I would argue that this is based more off of chiaroscuro. 你看到透過(guò)窗戶的光打在男孩臉上頭上了，You see there is light hitting his face and his hair. 你可以想象向光和背光的分水嶺弧線。And you could argue that there is this almost imaginary line right here that separates the light in the shadow,這是唯一一個(gè)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沒(méi)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間被光找到的角色身上。 Your eye will naturally go to this character in the middle, ?

P4 - 06:56影視《毀滅之路》案例三。?

這劇照截圖案例相反，你可以看到的是，按照物體不同而區(qū)分的顏色。the opposite in this screen shot. Or you will see that everything is separated via local value. 白色袖子，黑色馬夾。White sleeves are white, black vests are black, 黑色套裝，白色頭發(fā)。black suits are black and white hair is white. ?

P4 - 07:05彩色變成黑白地圖深入探討。?

And just to prove it to you even more, I'm gonna turn this piece into black and white. 你會(huì)發(fā)現(xiàn)一切都是平面色局部?jī)r(jià)值，圖像按照物體靜態(tài)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從影視案例移步到繪制作品。?

Now let's move on from movie frames into actual paintings. 我們看看藝術(shù)家Ryan Lang給《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或局部黑白價(jià)值圖構(gòu)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。?

巖石 海灘 海洋 綠樹(shù)分別是一個(gè)色調(diào)， 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. 你可以著眼陰影鑒定為光影隨從的論據(jù)。You can argue that there are some dark spots here, like some shadows here and there. ?

P4 - 07:56總而言之。?

你發(fā)現(xiàn)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. 就是巖石 草地 沙灘 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與影。 So these are local value aspects. They are not shadow and light aspects. ?

P4 - 08:12進(jìn)一步解釋的案例。?

也是Ryan Lang給《Moana》另一個(gè)作品，傾向于光影Chiaroscuro學(xué)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具體分析作品中的光影隨行。?

in this piece. Overall, 有背光區(qū)域與向光區(qū)域以及分水嶺。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,向光面包括瀑布邊緣和草叢。 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體。which are all at different objects in different things. ?

P4 - 08:51這是概念舉一反三的運(yùn)用。?

And just to hit the concept home, 如果我們切換到底色，你發(fā)現(xiàn)驗(yàn)證了那句話。you see that if we turn it into black and white, that statement stands true. 背光域是因?yàn)樵陉幱袄铩ll of the dark values are because they are in the shadow, 向光域因?yàn)楣饩€照射到了。whereas all the light values are because they are being hit by a light, 和之前不同材質(zhì)物體不同巖石，理論是不同到。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。?

萬(wàn)變不離其宗的理論鑒別點(diǎn)。光影分水嶺，局部毗鄰物體不同閾值不同。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。?

重要的理解到什么組成了一個(gè)作品中黑白部分。這才是概念學(xué)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現(xiàn)場(chǎng)演練一個(gè)案例深入探討。?

這是超級(jí)短的演示舉例說(shuō)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繪制，頭發(fā) 膚色 衣服三種不同的顏色。 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按照光影隨行如何繪制黑白底圖。?

如果用光影隨行方案繪制，畫(huà)出來(lái)是這樣的。Whereas if I wanted to paint Shirley according to shadow values, this is how I would paint. 你發(fā)現(xiàn)亮色暗色已經(jīng)不是光影分布的標(biāo)準(zhǔn)。You'll see that the main black and white differentiation, is now between the lights and the darks. ?

P4 - 09:53需要記住的。?

在你繪制自己作品和研究的時(shí)候，需要牢記的，So just keep that in mind when you're painting your own pieces or doing studies, 問(wèn)自己按照亮色暗色劃分，還是光影隨行繪畫(huà)。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.你沒(méi)必要全和無(wú)的選擇，可以兩個(gè)方案融會(huì)貫通，切換自如。 You're never going to have one that leaves completely towards one way or the other. It's always a balance. ?

P4 - 10:12選擇一個(gè)主打韻律。?

But typically you want to Lean a little bit more towards the one side versus the other. 因?yàn)槿绻麤](méi)有傾向性，開(kāi)始訓(xùn)練有點(diǎn)困惑。Because when you're stuck directly in the middle is sometimes a little bit too confusing.眼睛看過(guò)分析案例多了，區(qū)分開(kāi)來(lái)會(huì)不費(fèi)力氣。 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舉個(gè)煎餅的例子。?

我個(gè)人愛(ài)做煎餅，家人有不成文規(guī)定周末做煎餅。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. 幾年前我在網(wǎng)上沖浪看到日本某家餐館曬圖煎餅讓我垂涎欲滴，超級(jí)厚的煎餅。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. 于是我為了這厚煎餅親自去了趟日本品嘗。And I saw it and I said to myself, oh my god, I have to go. 我確定我到了日本第一件事奔著這家餐廳去的。So I made sure the first thing I do when I return to Japan was I went to this cafe, 并且我給自己千里迢迢去吃到的煎餅留照紀(jì)念。here are my photos. I took myself personally all the pancakes I got to eat. Oh, my god!是我吃到最贊的煎餅，不虛此行。 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我要借此表達(dá)的是。?

吃過(guò)好吃的煎餅，我意識(shí)到自己做的煎餅不合格的。But here's the thing. After I ate those pancakes, I realized how subpar my own pancakes were. 我自制的煎餅和餐館里煎餅沒(méi)什么味道。My homemade pancakes didn't taste anything, 而這些煎餅，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. 但是現(xiàn)在我有個(gè)標(biāo)尺了。But now I had a benchmark. Perhaps 我可能做不了這樣好，但是每次我努力調(diào)整自己做煎餅的配方，無(wú)限接近這煎餅的水平，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藝術(shù)也是同樣的道理。?

The same thing for art, the reason I'm telling you all this stuff, so that you yourself have a benchmark. 需要不斷訓(xùn)練自己眼睛，黑白閾值對(duì)比強(qiáng)烈應(yīng)該什么樣子的。You need to develop your own eye to know what is strong black and white values. 你作品黑白色對(duì)比調(diào)節(jié)的會(huì)越來(lái)越好。And then naturally your own black and white values will improve too, 因?yàn)槟阊劬?biāo)尺越來(lái)越準(zhǔn)確了。because you have set yourself a standard. And that is so important. 所以如果你手里有賞心悅目的作品，轉(zhuǎn)化到黑白色去訓(xùn)練自己的雙眼。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接下來(lái)如何轉(zhuǎn)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. 一個(gè)最簡(jiǎn)單的方法是，One of the first and easiest things to always do as you來(lái)到圖像菜單欄 調(diào)節(jié) 色相飽和度或自然飽和度， go up here to image you go to adjustments and you go to hue saturation. Or you can go to vibrant, 兩個(gè)都奏效，我們選擇色相飽和度。either one of these for work. But let's just use hue saturation. 可以把飽和度調(diào)低，這是其中一種方法。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第二種調(diào)節(jié)到黑白底片的圖。?

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,到右下角點(diǎn)擊半個(gè)月亮小圖標(biāo)，點(diǎn)擊色相飽和度，移動(dòng)滑塊， 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問(wèn)題是。?

So the question is, OK, well, what was the difference? 卻別是這像是大地毯。While the difference is that this is basically kind of like a giant blanket. 如果我把繪畫(huà)單純的變到黑白版。If I simply took this painting and then turned into black and white, let's say that I okay here. 比如我前景繪制一個(gè)制片人。I'm just gonna draw this stick person right here. 繪制后點(diǎn)擊空白，制片人成為圖片風(fēng)景之一。Click here and now a part of the painting. they are a very integral to the painting. ?

P4 - 13:38繪制前景人后再打開(kāi)黑白開(kāi)關(guān)。?

And I turned my piece into black and white, like so I got huge aspirations and turn it down like that.但是后繪上去的制片人沒(méi)有轉(zhuǎn)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如何把紙片人轉(zhuǎn)化到黑白。?

whatever shall we do?萬(wàn)幸的是這里有名為色相飽和度調(diào)整圖層。 Well, thankfully there is this thing called a huge alteration adjustment layer, 想像成大地毯，打開(kāi)視覺(jué)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制片人變黑白了。?

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還有一個(gè)更好的辦法。?

只需要一點(diǎn)點(diǎn)設(shè)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. 視角 校樣設(shè)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設(shè)置之后。?

and if you first start off, 選擇蘋(píng)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為什么點(diǎn)增益只有百分之二十？?

選擇點(diǎn)增益20%， All you gotta do is click it and you go to dot gain 20%. Why is it only 20%? Honestly? 沒(méi)有確切愿意，重約俗成的，記住后，點(diǎn)擊確定。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快捷鍵？?

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. 快捷鍵Ctrl Y電腦上，彩色和黑白來(lái)回切換的看。?

P4 - 15:27手機(jī)替代電腦。?

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. 如果你覺(jué)得殺雞焉用宰牛刀，電腦上快捷鍵來(lái)去的看的眼暈操作不方便，用手機(jī)拍下電腦的圖，在手機(jī)上彩色黑白間來(lái)回切換。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喜歡的彩圖習(xí)慣切換到黑白思考。?

Once you look at some of your favorite artists paintings and how they kind of tackle black and white values and理解標(biāo)尺，深入理解，比不去看案例，單憑自己想象，更容易掌握標(biāo)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下節(jié)課復(fù)盤(pán)。?

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