2-D Media, Materials, and Techniques
AP 2-D Art and Design Topic 3 8:00 English narration · English + 中文 subtitles burned in
Chapters
Transcript
Look closely.
仔细看。
There is no grey ink in this drawing.
这幅画里没有灰色的墨水。
Every soft shadow is made of separate lines, drawn one beside the other.
你看到的每一处柔和阴影，都是一条条分开的线并排画出来的。
Where the lines crowd together, the hand goes dark. Where they open out, the light returns.
线条挤在一起的地方，手就变暗；线条散开的地方，光就回来了。
Two choices made this picture: the material — ink — and the technique — hatching.
两个选择造就了这幅画：材料——墨；技法——排线。
<slow>Choose your material and your marks, and you choose what your picture can say.</slow>
选好你的材料和笔触，你就选定了画面能说的话。
This is Topic Three: media, materials and techniques.
这是第三个专题：媒介、材料与技法。
Media simply means the materials you work with.
媒介指的就是你所使用的材料。
We will cover seven of them — drawing, painting, printmaking, collage, photography, digital art and graphic design.
我们会讲七种——素描、绘画、版画、拼贴、摄影、数字艺术和平面设计。
For each one, learn what it can do, and learn the words the exam wants.
每一种都要学会它能做什么，也要学会考试要求你使用的术语。
Start with drawing.
先从素描开始。
This map sorts drawing media two ways.
这张图从两个方向给素描媒介分类。
Left to right: dry or wet.
横向是干与湿。
On the dry side sit graphite, coloured pencil, conté, charcoal and soft pastel. On the wet side sit pen and ink, brush and ink, ink wash and watercolour.
干性的一侧是石墨、彩色铅笔、孔泰粉笔、木炭和软粉彩； 湿性的一侧是钢笔墨水、毛笔墨水、水墨渲染和水彩。
Top to bottom: line-led or tone-led. Pen and ink gives you line.
纵向是以线为主还是以调子为主。
Charcoal and pastel give you broad tone. The tooth of the paper — its texture — changes the line and value possible. Drawing is used both to investigate ideas in studies and sketches, and to make finished works.
钢笔墨水给你线条，木炭和粉彩给你大面积的调子。
Choose the corner that matches the effect you want.
选择与你想要的效果相符的那个角落。
Inside one medium, the marks are still your choice.
在同一种媒介里，用什么样的笔触仍然由你决定。
Hatching is parallel lines. Cross-hatching layers them at angles. Cross-contour lines curve with the form, so a flat shape starts to bulge.
排线是平行的线； 交叉排线把它们按不同角度叠加；随形线顺着形体弯曲，平面的形状就开始鼓起来。
Stippling builds tone from dots.
点画用点堆出调子。
Scribble is fast and loose.
乱涂快速而松散。
Broken marks are dashes and ticks.
断续的笔触是短线和小勾。
One rule covers all six: the closer the marks, the darker the value.
六种都遵循同一条规律：笔触越密，明度越暗。
Now paint.
再看绘画。
Every paint is pigment held in a binder, brushed onto a support.
所有颜料都是把色粉用粘合剂调和后，刷在底材上。
The real question is whether the paint hides what is underneath.
真正的问题是：这层颜料会不会盖住下面的东西。
Watercolour is transparent: lay a second wash over the first and the colour below still shows through.
水彩是透明的： 在第一层上再刷一层，下面的颜色依然透得出来。
Building up thin layers like that is called glazing.
像这样一层层薄薄地叠加，叫做罩染。
Gouache and acrylic are opaque: the new layer covers the old one completely.
水粉和丙烯是不透明的：新的一层会把旧的一层完全盖住。
Here is oil paint doing what oil does best.
这是油画颜料最擅长的事。
Oil dries slowly, so colours blend wet into wet and the paint can be laid on thickly — thick, ridged paint is called impasto.
油画干得慢，所以颜色可以趁湿相互融合， 颜料也可以厚厚地堆上去——这种厚而有脊的颜料叫做厚涂。
The water here is not one flat colour; it is many broken strokes over each other.
这里的水面并不是一片平涂的颜色，而是许多断开的笔触相互叠压。
The support and the ground matter too: canvas is primed with gesso first, so the paint sits on the surface.
底材同样重要：画布要先用石膏底料打底，颜料才会停留在表面。
Printmaking transfers an image from a prepared surface, the matrix, onto paper.
版画是把图像从一块做好的表面——也就是版——转印到纸上。
The matrix can be inked again and again, so you can print an edition — many copies of one image. There are four families.
版可以反复上墨，所以能印出一个版数：同一幅图像的许多份。
Relief prints from the raised surface.
版画有四大类。
Intaglio prints from lines cut below it. Planographic keeps everything on one flat level, using grease and water. Stencil pushes ink through an open mesh.
凸版从凸起的表面印出；凹版从刻在表面以下的线里印出； 平版把一切保持在同一个平面上，靠油和水相斥；孔版则把墨挤过网孔。
Here is the trap that costs marks.
下面是最容易失分的陷阱。
The matrix presses face down onto the paper, so the print comes out as a mirror of the plate.
版是面朝下压在纸上的，所以印出来的画面是版的镜像。
Watch the letters: on the plate they face one way, on the paper they face the other.
看这几个字母：在版上朝着一个方向，在纸上就朝着相反的方向。
Left and right swap.
左右互换。
So text in a print must be cut backwards on the plate.
所以版画里的文字，必须在版上反着刻。
This is what intaglio buys you.
这就是凹版能带给你的东西。
Every line here was cut into a copper plate with a sharp tool.
这里的每一条线，都是用锋利的刻刀刻进铜版的。
Cut lines can sit finer and closer than a raised block could ever hold, so the shadows go deep and the detail stays sharp.
刻出来的线可以比凸起的木版所能承载的更细、更密，所以阴影很深，细节依然清晰。
Look at the folds of cloth and the shine on the polished sphere.
看衣褶，看那颗打磨过的球体上的反光。
All of it is line — no grey, no wash.
这一切都是线——没有灰色，也没有渲染。
Collage assembles found materials onto a surface: paper, photographs, fabric, a ticket, a map.
拼贴是把找来的材料组合到一个表面上：纸、照片、布料、一张票、一张地图。
Mixed media goes further and combines two or more processes — drawing over paint, or print with stitching.
综合媒介走得更远，把两种或更多的工艺结合起来——在颜料上画，或者在版画上缝线。
Two things make this powerful.
有两点让它很有力量。
The materials add actual texture you could touch. And a found material carries meaning of its own.
材料带来了你真的可以摸到的肌理； 而找来的材料本身就带着含义。
A bus ticket is not grey paper; it is a journey.
一张公交车票不是灰色的纸，它是一段旅程。
Photography and lens-based media come next.
接下来是摄影与镜头类媒介。
A photograph is a two-dimensional artwork too, and the same elements and principles apply.
照片同样是二维作品，同样适用那些元素和原理。
The photographer controls framing, focus, exposure — how much light gets in — depth of field, and viewpoint.
摄影师控制取景、对焦、曝光——也就是进光量——景深，以及视角。
Composition does the rest.
其余的交给构图。
Here the gangway cuts a strong diagonal, the funnel makes a hard vertical, and the crowd splits into two clear levels.
这里，舷梯切出一条有力的斜线，烟囱形成一条硬朗的竖线， 人群被分成清楚的两层。
Editing is part of the process, not just correction.
后期也是创作过程的一部分，而不只是修正。
Digital work comes in two kinds.
数字作品分为两类。
A raster image is made of pixels: enlarge it and the squares appear.
位图由像素组成：放大以后，方块就露出来了。
A vector image is stored as mathematical paths, so it scales to any size and stays sharp.
矢量图存储的是数学路径，所以可以放大到任何尺寸，依然清晰。
Photographs are raster; logos and type are usually vector.
照片是位图；标志和字体通常是矢量。
In both, you work in layers, so you can change one part without damaging the rest.
两者都在图层上工作， 所以你可以只改动一部分，而不损坏其余部分。
Keep your portfolio files high resolution; a small file can never be made sharp again later.
作品集的文件要始终保持高分辨率； 文件一旦太小，以后再也变不清晰了。
Colour behaves differently on a screen and on paper.
颜色在屏幕上和在纸上表现并不相同。
A screen adds light: red, green and blue, the RGB model.
屏幕是把光加起来：红、绿、蓝，也就是 RGB 模式。
Add all three and you get white, so the overlaps here get brighter.
三种都加满就得到白色，所以这里的重叠部分越来越亮。
Ink does the opposite. It subtracts light: cyan, magenta and yellow, plus black, the CMYK model.
油墨正好相反，它把光减掉： 青、品红、黄，再加黑，也就是 CMYK 模式。
Add them all and you get near black.
全部叠加就接近黑色。
So a glowing screen colour can look duller once it is printed.
所以屏幕上明亮的颜色，印出来可能会显得暗淡一些。
Graphic design communicates a message; illustration tells a story.
平面设计传达信息，插画讲述故事。
Both are problem-solving — the audience and the message decide every choice.
两者都是在解决问题—— 受众和要传达的信息决定了每一个选择。
The main tool is visual hierarchy: deciding what the eye reads first, second and third.
最主要的工具是视觉层次： 决定眼睛先看什么、再看什么、最后看什么。
Size, weight and position do that work.
大小、粗细和位置在起作用。
The headline is read first because it is largest, then the image, then the small text.
标题被最先读到，因为它最大，然后是图像，最后是小字。
Typography is part of the design, never an afterthought.
字体排印是设计的一部分，绝不是事后才想的事。
Now a worked example, because the portfolio is written as well as made.
下面是一道范例题，因为作品集不仅要做出来，也要写出来。
The task: explain a material and a process in your written evidence.
任务是：在书面材料里说明一种材料和一道工艺。
Here is the answer students write all the time. I used charcoal on toned paper.
学生们最常写的答案是这样的： 我用了木炭画在有色纸上。
It is true, and it names the medium.
这句话没错，也说出了媒介。
But it never says why you chose it, and never reaches the idea.
但它完全没有说为什么选它，也没有触及想法。
A material with no reason earns almost nothing.
只列出材料而不给理由，几乎得不到分。
Now let us build an answer that does.
现在我们来搭一个能得分的答案。
Now build the answer in three parts.
现在把答案分成三部分来搭。
First, name the medium: I used charcoal on toned paper.
第一，说出媒介：我用了木炭画在有色纸上。
Second, say why: because its soft, smudgeable line let me build deep shadow quickly.
第二，说出原因：因为它柔软、可以抹开的线条让我很快压出深重的阴影。
Third, connect it to the idea: and I lifted highlights with an eraser to suggest form.
第三，连接到想法：我又用橡皮擦提出高光，把形体的体积感做出来。
Medium, reason, idea.
媒介、原因、想法。
<slow>The reason is the answer.</slow> Use that shape every time you write about your process.
理由才是答案。 每次写创作过程，都用这个结构。
Four marks students lose.
四个学生常失的分。
First, media: never just list a material — say what effect you wanted.
第一，媒介：不要只罗列材料，要说出你想要的效果。
Second, printmaking: relief prints from the raised surface, intaglio from lines cut below, and the print always reverses.
第二，版画：凸版从凸起的表面印出，凹版从刻在下面的线里印出，而且印出来一定是反的。
Third, digital: vector scales, raster does not; RGB is screen, CMYK is print.
第三，数字：矢量可以放大而位图不行；RGB 是屏幕，CMYK 是印刷。
Fourth, collage: your materials carry meaning, not only texture.
第四，拼贴：你的材料承载含义，而不只是肌理。
Get those right, and this topic is yours.
把这些做对，这个专题就是你的了。