Tag: 素描

Line-drawing of Swiss-Re-Tower

这张练习主要的目的在于将一张彩色的照片在素描的过程中转化为黑白灰的关系。在我根据原画中带有颜色的色块把画面转化为单色素描时，可以看出颜色本身的饱和度也在影响着我对于色块明度的判断。我们的大脑在处理信息时，会将多方面带来的刺激合并在一起处理。这是一个有趣的练习，也能够有助于将来的色彩练习。
The main purpose of this practice is to shift a colour photo into a monochrome sketch. When I converted the picture into a monochrome sketch, I could see that the saturation of the colours also affected my judgement. These reflect that in the process, the brain does not mechanically extract a single factor (such as brightness) from these colours and block out the influence from other factors (such as saturation). The brain receives, and processes, the stimuli and feelings it has got all together. This realisation can be helpful in drawings with colours.

《卖卫生纸的小贩》这件作品是由两张画拼放在一起之后拍照而成的。两张画都来自一张摄影作品。原照片非常吸引我的是它具有的一种戏剧性的张力。这来自两点：一个是那些长长的投影；另外是摄影采取的俯拍的角度。阴影在画面中占据了很大的面积，并且每个人都好像嵌在两个（或三个）阴影之间似的。俯拍的角度将人物压缩成非常不符合我们在平视的视角下（也就是日常的视角）所看到的人的形状，但是每个人物的阴影却比较符合这种日常视角看到的人的形状。这种阴影似乎和它们的主人地位错位了的感觉，产生了一种戏剧性的张力。

The work of “A Toilet-paper Vendor” is composed of two drawings being put together and then photographed. Both drawings are from a photo. What attracted me so much about the original image was the dramatic tension produced from two aspects: one is the long shadows; the other is the overhead angle of the photography. The shadows occupy quite a large area in the frame, and everyone seems to be embedded between two (or three) shadows. The angle of the overhead shot compresses the characters into a shape that is very inconsistent with our daily life experience, while the shadow of each character is more in line with the shape of the people we see.