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53 Lesson 9 - Industry and More Part 1 - Final Application - One! Giant!!

P53 - 00:01?

?I'm like getting emotional. We've been through so much together. You're at episode nine, like you went on this life long journey. And all of these lessons so far you're used to having the recap being at the end of the episode. But we're shaking things up and putting the recap at the beginning of this episode.?

P53 - 00:27本章節(jié)我們提前進(jìn)行復(fù)盤。?

This is a very special kind of lesson and module, one that isn't going to be targeted at the canvas, but rather at your mind with modern medicine. We know that we can't just have a healthy body, but our mental health is also incredibly important. And they are intertwined very heavily.?

P53 - 00:48身心健康都是非常重要的。?

If your body isn't healthy, your mental health will deteriorate, and vice versa. Similar to art, I can teach you all of these things. But if your mind isn't taking it in, or if you don't have the proper mindset, none of this stuff will stick, which is the same as me never? teaching you at all.?

P53 - 01:08如果心態(tài)不健康，無法吸收知識(shí)。?

When I was in high school, I was selected to be a translator for an international watercolor exhibition where I met some of the world's best and most famous watercolor artists,?

P53 - 01:19遇見過水彩畫的藝術(shù)家。?

such as Stanislaw Zolandz, Joseph Zbukvic, and Alvaro Castagnet as well as LiuYi. I watched their demo religiously and I was literally translating for their demos.?

P53 - 01:33虔誠的看演示，并且翻譯。?

So I was able to hear their process first hand. But as much as I watched and as much as I wanted it to stick into my head, I just felt like when I went to my own canvas, I just couldn't do the same things that they did.?

P53 - 01:44但是我就是做不到模仿藝術(shù)家。?

And I'm sure that you felt that way before seeing someone incredible, do something in front of you. And then you go off and try the same and feeling like you just can't do it.?

P53 - 01:56你嘗試同樣的事情發(fā)現(xiàn)做不了。?

This is what this lesson is for, from all the time that I went through different teachers, I always appreciated it above all else. When teachers not only taught me how to do something. but how to integrate it in. What is the best mindset for furthering my improvement??

P53 - 02:14強(qiáng)調(diào)心態(tài)如何更好的推進(jìn)。?

Let's call it artistic mental health. Ok.? This is going to be a super chill module where we just have a heart to heart chat.?

P53 - 02:23心與心的聊天。?

First of all, though, we need to go over everything that we've learned so far. Cause oh boy, we went through so much probably to the point that some of the stuff is already falling out of your brain. It due to Information overload.?

P53 - 02:37信息量過載。?

So let's put them back into your brain jar. All right, here the recap.?

P53 - 02:41開始復(fù)盤吧。?

number zero. This entire course is about the foolproof painting method, because it is infinitely more difficult to cook something. If you don't have a recipe. ?

P53 - 02:54如果沒有菜譜，很難去烹飪什么。?

So if you have a recipe for something like painting, then effectively you'll be able to paint something each and every time That is an absolute bigger.?

P53 - 03:03有效的做一次，還愿意做下一次。?

And once you're comfortable with each of these steps, you can change In any way that you would like. I am simply here to provide you a process, and it is up to you to take it and turn it into your very own.?

P53 - 03:15變成你自己的東西。?

So the first steps that process is black and white. Our values, if we are making a concept art pizza, the black and white is our dough,?

P53 - 03:26黑白閾值就是面團(tuán)。?

It is absolutely paramount that we can discern things apart our piece. If they are turned into black and white. Our human eyes are evolved and instinctively gravitate to things that are darker and lighter, not necessarily coloured, because we perceive depth, using black and white far better than we do with color.?

P53 - 03:41通過黑白來分辨遠(yuǎn)近的。?

It's in our biology. So we need to make sure in our pieces we have a good breakdown of different values, preferably in the three main colors, a black a grey and white.?

P53 - 03:52黑白灰三色。?

Now the two different ways to differentiate these values would be through Notan and Chiaroscuro, Notan being the local value of something like a white jacket or a dark pair of pants or as Chiaroscuro, is the shadow of something such as light. Casting across the face.?

P53 - 04:09N光影按部位C光影非部位。?

This isn't to say that every single piece in the world is to follow these two values of either Notan and Chiaroscuro. But we need to be aware of what is causing the biggest value differences in our piece and allow this to make us more sensitive to changes in values. ?

P53 - 04:21允許我們對(duì)閾值變化更加敏感。?

Afterwards, step number two is the composition. in our concept art pizza. composition is still considered to be our dough.?

P53 - 04:35藝術(shù)概念合成是面團(tuán)。?

The foundation, the main purpose of compositions to help us convey an immediate feeling in our piece, helping us tell our story, serves as a skeletal structure that we put everything else on Top of.?

P53 - 04:46黑白灰閾值是打底的基礎(chǔ)。?

whether it's a very dramatic composition or a simple one. Different compositions can color our experience with a piece of drastically. We started by learning the different aspect ratios that we can this can be and know that the aspect ratios have a very rich history of how they came to be.?

P53 - 05:02橫寬比演變的歷史。?

Then we divide the inside of our piece with the lines is exactly through the canvas and fractions like 20 30 10 90 28 and so forth. ?

P53 - 05:12三分二八分一九分比例。?

We explore the golden rule of thirds. And how is probably the most foolproof way of putting anything that we like onto the canvas and then get even deeper, by looking at all those fractions which are ultimately there to serve some different composition stereotypes such as the arrival shot, the close up, the hiding from spying on and so forth.?

P53 - 05:33抵達(dá) 特寫 窺視的鏡頭。?

And now my personal favorite part of the pizza, the sauce, or I'm sorry, the colors, we lightly go over some terminology. But honestly, to truly foolproof our colors, we need to look at how color is actually used, which is going to be in tandem with light, which is literally the source of all colors physically.?

P53 - 05:54顏色如何和光源相互影響有作用。?

Thus to understand color, we need to find our different sources of light. And there are really only two, the sun and the artificial light. We go over all the different times of day, from dusk to dawn and rain sunshine, each having their own special attribute.?

P53 - 06:10黃昏 黎明 雨天不同的陰影。?

The second source of light is artificial light, whether it's fire or if it's a man made lamp. One key thing to note, however, is that artificial light is almost always going to have a radius like effect where it gets weaker. The further you move out. Whereas sunlight is usually all powerful invades everything. ?

P53 - 06:28人造光源近處強(qiáng)遠(yuǎn)處明顯。?

But how do we actually implement that into our paintings? Simple really. all we do is look at colors from real life. No more we're having to memorize what works for this or what works for that. Whether I use this color or use that color, just take a photograph and I drop your colors. It's that easy. You can't really steal nature's colour palette. That's just not possible. ?

P53 - 06:50用正午 夕陽 夜間的色彩。?

So I demonstrated how by using multiply layers, almost like a filter, we can turn a neutral colored painting into just about any color we would like.?

P53 - 07:00自然光可以轉(zhuǎn)化到各種顏色。?

this way. If your art director wants something different, we can give it to them instantly.?

P53 - 07:09按照藝術(shù)總監(jiān)的要求改寫。?

Now we're going to start putting all that together. And in our concept art pizza, this would start to become our toppings. Our first topping is the visual development piece, a standard painting that we would turn in for just about anything we really need within the industry.?

P53 - 07:21視覺化圖片打印出來。?

Nothing fancy, just pure painting. But the main point of me putting the visual development piece here, is the practice combining the previous lessons. ?

P53 - 07:30訓(xùn)練結(jié)合之前的課程。?

First we establish a clear black and white value distinction in our piece. Then we consider the composition. And for my piece here it was an arrival shot. And I placed my character in the intersection of the golden rule.?

P53 - 07:44抵達(dá)場景，黃金分割線。?

I even go over a little bit of character design. next week we colour everything flat. And by looking at some reference images, we color our piece. None of this was stuff that I just pulled out of a hat like a magic rabbit. We went through each of these stages one by one. And if you go through these stages and steps, your piece is going to be an absolute a bigger as well.?

P53 - 08:06一步步走下來不菲的工程。?

So by now it's really just a rinse and repeat of those steps, black and white values, composition and color and lighting. Everything else is about execution. And one of the most high fidelity executions out there is the photo bash technique. ?

P53 - 08:25照片拼圖是高保真度的。?

It is now a staple of the concept art industry. So if anyone ever hopes on you for using this technique, they clearly don't know what the current meta or standard is. It's their loss, with improving technology. We artists need to keep up to or else we will be the artistic equivalent of my space and nobody wants to be my space.?

P53 - 08:47偏見證明無知。?

Our photo bashing lesson is split into two courses because technique is always a little bit more difficult to teach them concepts. Put it simply, though, we take out different parts and aspects of photographs and then stitch them together into one cohesive image that I coined as the photo search. ?

P53 - 09:02無縫連接到新的圖片。?

Then we lighted the overall piece and using the same method we learned in module three on color. We can filter the peaceful and cohesive and also inject any color that we would like.?

P53 - 09:14可以涂抹上我喜歡的顏色。?

My first birds demo was to show you the techniques of photo bashing. But in the moment, red riding hood a piece, we now combine all of the previous lessons. Now, first, as always, a strong black and white value difference needs to be established early.?

P53 - 09:27還是最早創(chuàng)建黑白圖。?

Don't forget. Typically things that are closer to us are darker and things further away are usually lighter.?

P53 - 09:34近處的偏暗，遠(yuǎn)處的偏淡。?

Feel Free to really exaggerate this in your piece, because honestly, I don't think it's exaggerated enough in a lot of paintings. At the same time, we're establishing composition and placing our main subjects like little red and our house on the intersections of the golden grid rule of thirds.?

P53 - 09:53角色放在三分線的位置上。?

We actually then need a separate module just to discuss how to add colour on to our piece.?

P53 - 10:02如何把顏色加入到作品上。?

And our demonstrator three different lighting scenarios, including one with artificial light at night. Notice that each time I had a solid reference with me. And one of my references was a film, a screen shot, to really imitate the feeling of the movie, that covers my color and lighting.?

P53 - 10:21模擬影視的光源。?

Because I had a strong neutral base of my original photos dish, which has good luck and good values and a work in composition. I was able to add any color I wanted on Top of it.?

P53 - 10:29各種顏色加入到中性光源中。?

Just like if you had multiple pizza dough and you spread different sauce on each. A good thing to note is also that the focal point of your composition should usually have the highest point of contrast, which is why I was able to shift away from my main focal point from my little red to my house instead,?

P53 - 10:51光影對(duì)比，小紅帽焦點(diǎn)移到房子。?

at the night time piece, because the interior lights made it the brightest thing on the entire page.?

P53 - 10:55夜間，屋內(nèi)燈光點(diǎn)亮環(huán)境。?

Now, once we finished all the photo bashing, when you combine both photo bashing and painting together into a piece that utilizes a bit of both, this is also where I introduce perspective and interiors. Because how can I call it foolproof? If we don't go over how to draw stuff, that's man made.?

P53 - 11:19繪制視角線，照片繪制結(jié)合起來。?

for me, I never learned perspective well, trying to draw cubes in space, but I did understand it. The simple rule that stuff you draw in stitch in need to adhere to the perspective grid. It's just easy as that. So I began by taking my own photographs and just placing grids on Top of them to start off my piece.?

P53 - 11:40自己拍照片提煉視角線。?

And the rest is history, photo bashing and a strong base and painting on Top to finish it off. This is the part where I would encourage for you to try all kinds of different methods. I simply demo to one way.?

P53 - 11:53鼓勵(lì)嘗試不同的方案。?

But now that you have the knowledge of knowing how to photo bash, you can utilize it in any way that you would like. That being said, these are instructions for after you complete the homework. Because in the homework, I still asked you to follow the steps pretty closely, because i'd like for you to at least get comfortable with using both. But after you get the hang of it, explore a way.?

P53 - 12:14探索全新的方式。?

And lastly, to take it to the final tier, we are speed painting, where we are literally taking every single and I mean every single piece that we learned so far and mashed together to create a painting within one to three hours.?

P53 - 12:36一到三小時(shí)完成速寫。?

Whether that's humans or vertical painting or exterior or nature, or magic or real life, we've basically covered it all. ?

P53 - 12:44內(nèi)景外景裝潢都涉獵到。?

Speed paintings are a form of painting that only get better with the overall improvement of your standard paintings,?

P53 - 12:53速寫改寫整個(gè)水平。?

or at least in my opinion, and is the most instinctual of all the painting methods that we've covered so far. If I had to compare it to a pizza, it's like your speed making pizzas and just throwing whatever toppings you think might taste good together. But you're just making them quickly one after the other. I also lightly go over my brushes.?

P53 - 13:15速寫的同時(shí)用筆刷。?

And even during my demos, I shout out what brushes I'm using for each specific portion. However, the reason I waited until now to explain brushes is because I don't want you to focus on something this minute and meticulous until you've had experience. It can fully grasp the bigger picture of values, colours and compositions. Basically the big guns. Oh, my god! ?

P53 - 13:38閾值顏色合成，之后才是刷子。?

Okay, we aren't done. Holy cow! That was so much! I think my tongue grew like ads. I bet I can lift weights now. But that is the full proof of concept painting recipes. Black and white values with a good composition. And colors are taken from real life. That's all you need to inject.?

P53 - 14:08黑白閾值對(duì)比，源自生活的繪制。?

However, everyone's versions of these paintings will look different. And yours will certainly look different from mine. I've shoved a lot of Information at you. So what you need above all else is a moment to process it.?

P53 - 14:25你也需要自己走一遍過程。?

So here take a seat next to me. Probably already sitting. Or maybe you're using a standing desk, I don't know. But either way, let's just chill out and talk to each other for a moment here on probably the most important thing of all above all of us, which is your mindset.?

P53 - 14:47重點(diǎn)還是心態(tài)。

??

54 Lesson 9 - Industry and More Part 2 - A Foolproof Mindset

P54 - 00:02?

if you presented it to equal human beings are essentially clones, I guess, and asked them to learn, oh, say I don't know shoemaking and gave them and gave them all the same equipment and opportunities. And even though these guys are supposed to be clones, if one of them has a healthier and stronger mindset, they are no doubt going to be the ones to learn the skill and trade faster and better.?

P54 - 00:28不質(zhì)疑自己的話，技術(shù)會(huì)有突破。?

What is the point of all of this Information? If it's never acted on? at the end of the day, we can learn and gather Information, especially in an age where Information is just so abundant.?

P54 - 00:39在技術(shù)如此豐富的年代。?

So now one of the biggest obstacles to our growth and improvement is ourselves.?

P54 - 00:45最大的障礙是我們自己。?

It's very possible that during this course, and I'm sure it's happened because it happens to all of us artists that you felt frustrated before, because you saw someone do something in front of you.?

P54 - 00:55你看見某些人在你面前做一些事。?

But you yourself could not do the exact same thing or you've seen a piece of art so good that it doesn't even inspired you, but rather it crushes your soul because you feel like you could never get there.?

P54 - 01:08不能觸碰靈魂不打動(dòng)的無法模仿。?

This is definitely happened to me multiple times throughout my own artistic journey. So if you you have been feeling frustrated during this course at times? Please know this. This course so far has been eight modules, each varying around an hour or so in length. Essentially, you've been taught the entirety of painting all of it in like an eight hours with around a week or so of practice in between. Even the most amazing and talented person won't be able to up their game from a zero to a 100 in that amount of time, especially for something like art, where improvement is gradual and it's a slow process.?

P54 - 01:49技術(shù)的進(jìn)步是個(gè)循序漸進(jìn)的過程。?

I am convinced, however, that if you compare your work from before taking this class to after taking this class, assuming you've been doing the assignment and practicing consistently that you should see an improvement.?

P54 - 02:01持續(xù)不斷的訓(xùn)練就會(huì)提升。?

No matter what. But for us to be able to draw like the next John singer sergeant, that's going to take a little bit of time. And that is all part of the foolproof journey.?

P54 - 02:11無懈可擊的技術(shù)需要訓(xùn)練的。?

So never beat yourself up for not being able to show results like instantly.?

P54 - 02:16如果沒有立竿見影別逼迫自己。?

Our craft is something that we can really only see the difference after a year or two in retrospect.?

P54 - 02:23回顧一兩年的不同。?

However, the only way that we can do that is if we continue to keep tackling at it and keep at it. Okay? ?

P54 - 02:30不斷的精煉技能處理問題。?

As embarrassing as this is, I'm gonna go out on a limb and show you some of the stuff that I did in middle school.?

P54 - 02:37給你看下我在中學(xué)時(shí)候的作品。?

Okay, brace yourself. Oh, god, it hurts to look at this stuff that I was doing back when I was probably around 10-11 years old. And all I really wanted to draw back then was pokemon and anime girls. And that was it. There is a very clear, distinct divide from how I was drawing back then to what I'm drawing now. back to when I was in middle school, the hottest thing trying to draw amongst everyone was like the cutest anime girl. And so my dream was to draw the cutest anime girl out there.?

P54 - 03:09當(dāng)時(shí)就是繪制漂亮女孩。?

I was looking at this old stuff and going like, oh god, it's awful. But my point is that all of us started somewhere. Eventually I started to realize that if I wanted to work as an artist in the industry, unfortunately there aren't that many jobs out there just yet. For people who exclusively draw cute and bubbly animated characters.?

P54 - 03:29然后繪制動(dòng)畫作品。?

And I was going to need to learn how to draw other stuff. So when I was in high school, I gradually started to incorporate more and more environments into my skillset.?

P54 - 03:39此后把環(huán)境加入進(jìn)來。?

I remember these pieces took media so so long and even a single rock was like the hardest thing to draw for me in the history of ever.?

P54 - 03:51甚至石塊對(duì)我而言都是難的挑戰(zhàn)。?

And just drawing a single tree was like what in the world am I doing? But I practiced and I kept going and I didn't give up. I pushed myself outside my comfort zone. Bit by bit, I didn't start drawing like amazing castles in the sky. Like just out of nowhere. I started from a single place, drawing a character.?

P54 - 04:11一點(diǎn)點(diǎn)開始訓(xùn)練的，比如角色。?

And then I slowly added some backgrounds. And then I crept a little bit more and more and more and more outside and eventually start to do things with perspective,?

P54 - 04:19繪制外部場景，然后才是視角。?

things with high angles, low angles. And gradually I increased my visual library.?

P54 - 04:27高低視角構(gòu)建的視覺庫。?

I learned everything I taught you here in the span of multiple years. You could even say that i've condensed eight years of what I learned down into eight hours.?

P54 - 04:39八年學(xué)到的濃縮在八小時(shí)內(nèi)。?

Some of the stuff that i've mentioned in this course are things that I only learned myself a year or two ago or come to fully understand and realize maybe only two months ago. So even if there are aspects in this video on course that simply didn't click with you or you feel that you're not at that level yet to fully understand it, it's okay. Everyone's journey is different. But you now have access to the recipe. And on your screen, I have given you the blueprint ready for you whenever.?

P54 - 05:07有技能訓(xùn)練清單等你心態(tài)準(zhǔn)備好。?

that's the best part of all of this being recorded, because you can come back to these videos over and over and over and over. And I will always be here happy to explain it for you as many times as you'd like until you understand it properly and feel confident to say that you've truly mastered the course.?

P54 - 05:26直到自信到你掌握了課程。?

That is the full proof mindset, the acceptance that improvement is something a gradual and not something that we can instantly rush, and thus having the perseverance and motivation to move on and keep striving for greatness.?

P54 - 05:42毅力和動(dòng)力，雷打不動(dòng)訓(xùn)練。?

I myself am on a constant journey to improvement each time. I think i've reached the peak of the mountain, I can see one in the distance that is even bigger. There are so many exciting things from polishing my own painting skills to things like 3D or bookmaking that I know what make my current paintings in work I do even better because of this. I will never be bored or run out of things to try and improve on.?

P54 - 06:06總是看到前面的差距，鍥而不舍。?

I hope that a few years later I look back at my art in this course and say, yeah, WOW, I know a much better way to do that now. So you're not alone, we’re on this journey together. A symphony is not about the ending. It's an experience from the start to the finish, an experience that we will always be on.?

P54 - 06:26進(jìn)步本身就是旅途。?

And it's up to you to decide how you'd like that experience to be.?