Drawing Media and Processes
AP Drawing Topic 4 8:34 English narration · English + 中文 subtitles burned in
Chapters
Transcript
Three drawings here, and three materials.
三幅画，三种材料。
A portrait in pencil: it whispers, and it can always be rubbed out.
一幅铅笔肖像：它在低语，而且随时可以擦掉。
A still life in charcoal: it shouts, it smudges, and it reaches a deep black that graphite can never touch.
一幅木炭静物：它在呼喊，它会蹭花，而且能达到石墨永远碰不到的深黑。
A sleeping man in pen and ink: it says one thing once, and never takes it back.
一个用钢笔和墨水画的睡着的人：它一次只说一句，永远不能收回。
Your material is part of what the drawing means.
你的材料，是画作含义的一部分。
Here is the plan.
这是本节的安排。
First the dry media: graphite, then charcoal and conte.
先讲干性媒介：石墨，然后是木炭和炭精条。
Then ink, where pen, brush and wash all live.
接着是墨水，钢笔、毛笔和淡彩都属于它。
Then colour, in pencil and pastel.
然后是色彩，用彩色铅笔和色粉。
Then paint and printmaking.
然后是绘画和版画。
Then mixed media.
然后是综合媒介。
And last the sketchbook, where all of it is practised.
最后是速写本，所有这些都在那里练习。
Before the materials, one map.
在讲材料之前，先看一张地图。
Left to right, this axis runs from dry to wet.
从左到右，这条轴从干走向湿。
Top to bottom, it runs from line led to tone led.
从上到下，它从以线为主走向以调子为主。
Graphite and coloured pencil sit dry and line led: sharp, controlled, slow.
石墨和彩色铅笔位于干而以线为主的一角： 锐利、可控、缓慢。
Charcoal, conte and soft pastel are dry but tone led: broad, fast, smoky.
木炭、炭精条和软色粉是干的，但以调子为主：宽阔、快速、朦胧。
Pen and ink is wet and line led.
钢笔和墨水是湿的，以线为主。
Ink wash and monotype are wet and tone led.
淡彩和独幅版画是湿的，以调子为主。
Mixed media joins two corners of this map.
综合媒介把这张地图的两个角落连在一起。
Start with graphite.
先从石墨开始。
Pencils are sold in grades.
铅笔按硬度等级出售。
The H grades are hard.
H 等级是硬的。
They stay pale, they hold a sharp point, and they suit construction lines and fine detail.
它们保持浅淡，能保持尖锐的笔尖，适合起稿线和精细的细节。
The B grades are soft.
B 等级是软的。
They lay a rich dark down in one pass, and they blunt fast.
它们一笔就能压出浓黑，而且很快变钝。
Nine H is the palest, nine B the darkest.
9H 最浅，9B 最深。
One warning.
一个提醒。
Press graphite hard and the surface turns shiny, so it stops reading as black.
石墨压得太重，表面会发亮，于是它反光，不再像黑色。
For a true black, change medium — to charcoal, or a carbon pencil. And vary the grip: the writing grip for detail, the overhand grip for broad, light shading driven from the arm.
要真正的黑，就换一种媒介。
Here is what control looks like.
这就是控制的样子。
Ingres drew this portrait in graphite alone.
安格尔只用石墨画了这幅肖像。
Look at the head.
看头部。
The face is worked carefully, with soft grades and small changes of value, so it turns and feels solid.
脸画得很仔细，用软等级的铅笔和细微的明暗变化，所以它转折起来，显得结实。
Now look at the coat.
再看外套。
It is almost bare paper, held by a few light lines.
它几乎是空白的纸，只由几根轻线撑住。
The background is a handful of quick diagonal strokes.
背景只是一把快速的斜向笔触。
He spent his value where he wanted your eye, and nowhere else.
他把明暗用在他希望你看的地方，别处一点也不用。
Charcoal is the opposite of a pencil.
木炭和铅笔正相反。
It is fast, truly black, and it wants to be used big, from the shoulder.
它快，它真正地黑，而且它想被大幅使用，用整条手臂。
Vine charcoal is soft and dusts straight off the paper, which is perfect for a first search.
柳条木炭很软，会直接从纸上掉落，非常适合最初的寻找。
Compressed charcoal is dense and permanent, so save it for the darks you mean.
压缩木炭密实而且不可去除，所以把它留给你确定要的暗部。
Conte crayons are waxier and cut a crisper line; white conte with sanguine and black on toned paper is a portfolio classic.
炭精条更蜡质，能画出更利落的线。
Finished work needs fixative, sprayed in light layers in fresh air.
完成的作品需要定画液，在通风处薄薄地喷几层。
Now ink, and the rule changes.
现在说墨水，规则变了。
There is no eraser.
没有橡皮。
Rembrandt drew this sleeping man with a pen, and every line was decided once.
伦勃朗用钢笔画了这个睡着的人， 每一根线都只决定一次。
See how few lines the face needs.
看这张脸只需要多少根线。
Where he wanted shadow, he laid parallel strokes close together, which is called hatching.
想要阴影的地方，他把平行的笔触密密地排在一起，这叫做排线。
Where he wanted air, he left the paper alone.
想要空气的地方，他就让纸留白。
With a dip pen the nib's pressure alone changes the weight of the line.
用蘸水笔时，单靠笔尖的压力就能改变线条的粗细。
The darkest tone came from a brush loaded with diluted ink, in one stroke — the single loaded brushstroke that East Asian ink painting treats as a discipline of its own.
最深的调子来自一支蘸满稀释墨水的毛笔，一笔完成—— 东亚水墨画把这一笔当作一门独立的功夫。
Ink wash works like watercolour, and the order is the whole trick.
淡彩的做法像水彩，而顺序就是全部的诀窍。
Dilute the ink with water, and put the lightest wash down first, over the biggest area.
用水把墨稀释， 先把最浅的一层铺下去，覆盖最大的面积。
Let it dry.
等它干。
Then a second wash over the smaller area that is darker.
然后在更暗、更小的区域上铺第二遍。
Then the darkest wash last, over the smallest area of all.
然后最后铺最深的一遍，面积最小。
Each layer only makes the paper darker, so lights go first and darks go last.
每一层只会让纸更暗，所以浅的先来，深的最后。
You cannot take a wash back.
你不能把一层淡彩收回。
You can only leave the light out.
你只能把亮部留出来。
Colour is allowed in the Drawing portfolio, as long as drawing leads.
只要以素描为主导，Drawing 作品集是允许用色彩的。
Colored pencil works in thin transparent layers.
彩色铅笔靠一层层透明的薄涂工作。
Press a heavy final layer over them and the surface fuses and shines, which is called burnishing.
最后用力压上一层，表面就会融合发亮，这叫做压光。
To grey a colour down, do not reach for black.
要把一个颜色降灰，不要去拿黑色。
Layer its complement, the colour opposite it on the wheel, and the shadow stays alive. Soft pastel is almost pure pigment. Degas built this whole figure with it.
叠上它的互补色，也就是色轮上正对面的颜色，阴影就会保持鲜活。
Oil pastel is creamier and resists smudging, and once it is layered you can scratch back through it — sgraffito.
软色粉几乎是纯颜料。 德加就是用它画出整个人物的。
And one rule outranks every colour decision.
还有一条规则，比任何色彩决定都重要。
Value is how light or dark something is, and it is not the same as hue.
明度是指一样东西有多亮或多暗， 它和色相不是一回事。
One value gives a flat disc.
一个明度只能给你一个平面的圆。
Four values give a ball.
四个明度就能给你一个球。
Get the values right and almost any colours will work.
把明度做对，几乎任何颜色都行得通。
Painting counts as drawing when value and edge lead: a monochrome painting — a grisaille — is drawing with a brush.
当以痕迹为主导时，版画也算素描。 这是伦勃朗的一幅蚀刻版画， 从他用针刻过的金属版上印出来。
Printmaking counts too. Relief prints like linocut cut the mark away; intaglio, such as drypoint and etching, scratches it in.
画面里的每一个明度都由线组成。
This is an etching by Rembrandt, printed from a metal plate he scratched with a needle. Every value in it is made of lines.
上面这里，线一遍又一遍地交叉，直到眼睛把它读成实心的黑。
Up here the lines cross again and again until the eye reads solid black.
中间，他让版几乎空着，那片空白就变成了光。
In the centre he left the plate almost bare, and that emptiness becomes light.
下面这里，人群用的是同样的刻痕，只是排得更密。
Down here the crowd is the same mark, packed tighter. No grey paint.
没有任何灰色的颜料。
Only line.
只有线。
Mixed media is where these materials meet, and the surface itself becomes a decision.
综合媒介就是这些材料相遇的地方，连表面本身也成了一个决定。
Ink line over a wash.
墨线画在淡彩上。
Charcoal over an acrylic ground.
木炭画在丙烯底子上。
Pastel over watercolour.
色粉画在水彩上。
A resist, such as wax, protects the lights before you work over them.
防染法，比如蜡，会在你覆盖之前保护住亮部。
Gesso lets wet media sit on almost any support, even an old book page. Test the combination on a scrap, and glue the test into your journal.
石膏底料让湿性媒介几乎能附着在任何支撑物上，甚至一页旧书。
This is what the CED calls synthesis: materials, processes and ideas chosen so they embody each other.
先在废纸上试试这种组合，再把试验粘进你的过程本。
None of this works without the sketchbook and daily practice.
没有速写本，这一切都行不通。
Twenty focused minutes a day beats one long session a month, because skill is built by repeating.
每天专注二十分钟，胜过一个月画一次长时间的， 因为技能是靠重复建立的。
Fill the pages with ordinary things: your own hand, a cup, the corner of a room.
用平常的东西把页面填满：你自己的手、一个杯子、房间的一角。
Copy a master drawing to learn its mark system from the inside, and label it as a study.
临摹一幅大师的素描，从内部学会它的痕迹体系，并清楚地标明这是习作。
And date every page.
还有，给每一页写上日期。
A dated sketchbook is proof of growth over time.
一本有日期的速写本，就是成长的证据。
Now a worked example, and it is a writing task.
现在做一个例题，而且这是一项写作任务。
In the Sustained Investigation, every image you submit carries writing that must identify your materials, your processes and your ideas.
在持续探究中， 你提交的每一张图片都要附上一段文字，必须写明你的材料、你的过程和你的想法。
Here is what most students write.
多数学生会这样写。
This drawing is charcoal on grey paper.
这幅画是灰纸上的木炭。
It is true, and it earns almost nothing, because it only names a material.
这句话是真的，却几乎得不到分， 因为它只说出了一种材料。
A strong answer has three parts. The medium, the reason, and the idea.
一个好的答案有三个部分：媒介、你选择它的理由， 以及它服务的想法。
Pause here and try it yourself.
先暂停，自己试一试。
Here is the same sentence, written properly.
下面是同一句话，写好之后的样子。
I chose charcoal on grey paper because I could pull the lights back out with an eraser, so the figure emerged from the dark, matching my question about memory fading.
我选择在灰纸上用木炭， 因为我可以用橡皮把亮部重新提出来，让人物从黑暗中浮现， 这正呼应我关于记忆褪色的问题。
Read it again in three colours.
再用三种颜色读一遍。
Charcoal on grey paper is the medium.
灰纸上的木炭，是媒介。
Pulling the lights out with an eraser is the reason.
用橡皮把亮部提出来，是理由。
My question about memory fading is the idea.
我关于记忆褪色的问题，是想法。
Name it, justify it, connect it.
写明它，说清理由，把它和想法连起来。
Three parts, one sentence.
三个部分，一句话。
Five things before you go.
走之前有五件事。
One. Name materials precisely in written evidence.
第一，在文字里写出确切的材料。
Compressed charcoal and white conte on toned paper reads as expertise. Pencil and stuff reads as a guess. Two.
灰调纸上的压缩木炭和白色炭精条，读起来像行家；铅笔之类的说法，读起来像猜的。
Show at least two media families across the portfolio, for example graphite and ink wash. Three. One ink piece is worth including, because that honesty is visible in seconds.
第二，在作品集中展示两个不同的媒介家族，例如石墨和淡彩。
Four. Fix charcoal before photographing it — a smudge in transit is a silly way to lose the craft impression. Five.
第三，收入一件用墨水完成的作品，因为那种诚实几秒钟就看得出来。
Sketchbook spreads photograph beautifully as process images: pick one that shows tests and notes, not just finished mini-drawings.
第四，拍照之前先把木炭定住。 第五，拍一页速写本跨页，要能看见试验和笔记。