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Video tags
Subtitles
Russian
00:00:02
white black achromatic colors, you can00:00:05
say that they are colors, they are not00:00:07
such a paradox, but two of them are00:00:10
quite enough to convey00:00:12
everything necessary in a drawing; moreover, it is00:00:15
these opposites that help to00:00:17
visually distinguish one object from00:00:19
another, highlight the desired plan and build a00:00:22
composition, all thanks to contrast and00:00:24
work with the tone between black and white00:00:27
there are a huge number of shades of00:00:28
gray. And how many of them the00:00:31
human eye can distinguish depends on the00:00:33
sensitivity of vision and the ability00:00:35
to perceive which, of course, can be00:00:38
improved. If there was a desire,00:00:40
today we will talk about how to00:00:42
work with tone in a drawing, learn to00:00:44
see it and put into practice with you00:00:47
smirnov School microphone Kirill Eroshkin00:00:49
Stop written by Elena Ananyeva By the way,00:00:51
don’t forget to subscribe if for00:00:53
some reason you haven’t done so yet,00:00:54
click on the bell so you don’t miss00:00:57
new videos Well, like it and give it a like will be a00:01:00
very pleasantly00:01:02
important tool in working with the entire00:01:04
spectrum of shades between black and white00:01:07
is a tone scale; it helps00:01:09
organize a palette with a limited00:01:11
number of tones; this is useful in00:01:13
order not to get confused and learn to see the00:01:16
ratio of light and dark in00:01:18
ordinary drawings; it is conventionally divided into an odd00:01:21
number of values; there can be00:01:23
as many as you need it is important that this is00:01:25
the range between the lightest and00:01:28
darkest point of your work. After00:01:30
you have determined these extreme positions, the00:01:32
required number of tones is selected.00:01:35
In the middle between each of them there will be00:01:37
its own border; contract, if you want to00:01:39
achieve a smoother transition, it00:01:41
is smoothed out by adding halftones; the00:01:44
more there are, the smoother the transition00:01:46
limitations, the palette allows you to find00:01:48
interesting artistic solutions.00:01:50
For example, you can create a drawing in a00:01:52
certain tonal key; this concept00:01:54
comes from cinema photography; high key;00:01:57
This image is in gradations; the light00:01:59
half of the scale is low;00:02:09
mood and atmosphere, for example, When there is a00:02:11
lot of light in the image, it can00:02:13
talk about memories or00:02:15
express a state of lightness, joy,00:02:18
sadness, hope or peace, thickening00:02:20
darkness creates tension, fear,00:02:23
hopelessness. Although it can happen the other way around,00:02:25
illuminated emptiness can frighten and00:02:28
Darkness gives peace and comfort It all00:02:30
depends on the tasks and work with00:02:32
contrasts also help direct the00:02:34
viewer’s attention to the desired part of the00:02:36
photographs, emphasize details or00:02:39
divide the image into plans, but in order to00:02:41
work better with all this, it is important to00:02:43
study and train your perception of00:02:45
tone. Let’s take a practical look at what00:02:48
can help you with this, there are00:02:50
many different exercises00:02:52
based on the national Johannes scale00:02:55
Itten in his book The Art of Color00:02:57
offers exercises for an in-depth00:02:59
understanding of the contrast of light based00:03:02
on such a scale, first you need to shoot a00:03:04
12-step series of gray tones from white00:03:08
to black while monitoring the same00:03:10
degree of darkening of each of them, then00:03:13
select several of the 12 tones and00:03:16
compose them composition by combining them00:03:19
in any order, make about 4-600:03:21
different options and compare with00:03:24
each other to find the most successful00:03:26
solution according to the words; the task of such an00:03:29
exercise is to train the eye and feel the00:03:31
gradations of dark and light and in contrast.00:03:34
James Douglas on his channel00:03:36
moderndayjames shows how to00:03:38
use in practice, creating a scale with00:03:41
an image, he first makes a linear00:03:43
sketch, place the contours of the silhouettes of all the00:03:46
main shapes, do not concentrate on00:03:48
showing the volume, then he selects a00:03:50
small palette, for example, of 600:03:53
tones and fills the space with them,00:03:55
dividing it into large shapes, after00:03:57
which he selects areas of light and shadow into00:04:00
in the drawing he00:04:01
exposes the fractures of the forms with harsh00:04:03
contrasts and only then smoothes the00:04:05
boundary between them where it is necessary. He00:04:08
recommends always going from simple to00:04:10
complex, starting with large spots and00:04:12
gradually adjusting the forms, while he00:04:14
notes that in digital drawing it is worth00:04:16
paying attention to each of your actions00:04:18
and doing it thoughtful, as one would have to do00:04:21
when working with indelible materials,00:04:23
since this opportunity to easily correct everything00:04:26
in the program brings a risk. Especially for00:04:28
beginning artists, developing the00:04:30
wrong habits.00:04:32
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work not only in 2D in 3D and in a00:04:58
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finished work, the course is taught by Ivan Smirnov00:05:03
Concert artist-illustrator and00:05:04
art director he worked in the largest00:05:07
Russian gaming companies these mail.ru00:05:10
playrix Games website Sign up link to the00:05:13
course in the description of the video00:05:15
in the book lessons of classical painting and00:05:18
Juliet Aristide offers a similar00:05:20
exercise with a tonal scale in order to00:05:22
learn a minimum means00:05:24
to convey the plot What can be useful00:05:26
in a sketch before starting work on something00:05:28
more complex or to find the desired00:05:31
composition, any plot is selected, a00:05:33
limited palette is created and then the00:05:35
work is carried out in several stages, first the00:05:39
boundaries of the forms are also linearly placed, the main thing is to avoid00:05:41
detailing, then they00:05:43
are combined using tone forms for which it can00:05:45
be a general trace;00:05:47
individual forms are worked out. Aristides are advised to00:05:49
start with the darkest and largest ones, and00:05:51
only then the edges of the tonal areas are softened; and when00:05:53
completing the work, it is00:05:55
recommended to ask yourself the question of what00:05:57
exactly conveys the resemblance to00:05:59
the object being drawn and the artist’s video blogs are evaluated based on their00:06:02
answer. Sergey,00:06:05
he shows exercises that help00:06:07
train the eye for different tones.00:06:10
Using a scale, he evaluates any00:06:12
black and white images, as if00:06:14
laying them out into the right tones, trying to00:06:16
understand by eye which one where they mark the00:06:19
desired level for themselves with numbers and then00:06:21
checks you in a digital program and00:06:23
how the marked ones correspond places and00:06:25
positions on the scale, but not only to00:06:27
create black and white images, you need to00:06:29
be able to think in terms of talent; to00:06:32
work with color, this is no less important. After all, it is00:06:34
light and shadows that create space00:06:36
and sculpt the form, and their incorrect rendering00:06:39
can break it, create unnecessary00:06:42
variegation, the tone is most important You can00:06:45
clearly see this if you convert any00:06:47
image to black and white and see that00:06:49
volume has disappeared from the drawing, for example, or00:06:51
the composition stops working in the right00:06:53
direction and the object to which00:06:55
attention should have been directed suddenly00:06:57
merges with the background. All this can be00:06:59
checked in different parts, the most00:07:02
achromatic colors by the way. this is exactly what00:07:05
many Tomskul artists advise to do00:07:07
in an article on their website,00:07:09
they said that this can be done,00:07:10
for example, by changing the Photoshop settings in the00:07:13
view menu, you can00:07:15
select gray among the proofing options, after00:07:17
this keyboard shortcut controll V will00:07:19
make it possible to switch to00:07:21
emergency mode to test yourself and Johannes Itten00:07:25
in his book he talks about how00:07:26
important it is to distinguish between warm and cold00:07:29
colors. He dedicated those, for example. He advises an00:07:32
exercise in which00:07:34
chromatic colors are added next to the black-and-white tone scale00:07:37
so that they coincide with the00:07:39
gradations of Gray. He found out that00:07:42
saturated yellow is the lightest and the00:07:45
darkest saturated purple sometimes00:07:47
artists shoot cold colors and00:07:50
change dark ones where it was00:07:53
not needed, and often both00:07:55
colors may well be related due to the00:07:59
same tonality, which opens up00:08:02
many interesting artistic00:08:04
possibilities in the work When a painter00:08:06
needs rich yellow00:08:08
created the maximum impression, then the entire00:08:11
composition should have a light00:08:13
character. While saturated00:08:15
red or blue requires an overall dark00:08:18
solution to the composition, the luminous reds in00:08:20
Rembrandt’s paintings shine so expressively00:08:22
only due to the contrast with00:08:24
darker colors. And when Rembrandt wants to00:08:27
achieve the radiance of yellow, he immerses it00:08:29
in a relatively light color range00:08:32
While saturated red in this00:08:34
environment begins to give the00:08:35
impression of just something dark and00:08:38
loses its sonority, and of course speaking about00:08:40
how important tons are in creating the volume of00:08:43
space and the Depth of the image, we need to00:08:45
analyze the basic laws of chiaroscuro Vova of00:08:48
construction, we can consider the drawn00:08:51
the shape of an object due to the fact that it00:08:53
consists of surfaces00:08:55
located differently and located at different00:08:58
angles towards the light beam,00:09:00
what kind of lighting there will be depends on what the00:09:03
shadows will be + it is important how far the00:09:05
object is from the light source and00:09:07
from the person drawing What is the space around00:09:10
it all this is so or otherwise it will affect the00:09:12
work by groaning if you take the balls,00:09:15
look at his example how it00:09:17
works, the brightest place in00:09:19
the picture is Black, it is located in the00:09:21
place where the light falls and our eye would00:09:23
catch its reflection further in the place00:09:26
where the ball begins to round and its00:09:28
surface begins to change its00:09:30
location and move away from the light; from00:09:32
this reflection, the ray falls at a00:09:35
different angle and a semitone appears here. And00:09:38
the further the surface of the answer to everyone00:09:40
becomes darker, the darkest place on the00:09:42
ball will be the edge of its own shadow, the place00:09:45
where the source of Light slips past the00:09:48
surface without touching it behind it00:09:50
begins the surface of the ball,00:09:52
again immersed in darkness. It is always darker than the00:09:55
globe located in the Light, but slightly00:09:57
lighter than the edge of the shadow because00:10:00
here the00:10:01
reflection of Light from the surface on00:10:03
which the ball is located comes into force. Well, then00:10:05
another shadow appears, falling and lying00:10:08
Strictly in the direction of the source light on the00:10:10
surface of the same plane00:10:12
Alexander Ryzhkin, on his YouTube channel,00:10:14
talking about the cut-off construction of a00:10:16
ball, mentioned one dispute that often00:10:18
arises in the artistic environment: which is00:10:21
darker the edge of its own shadow or the00:10:23
falling shadow? He advises looking for the answer00:10:26
depending on the lighting and the material from00:10:28
which the ball is made And this is what it00:10:30
stands on. If everything, for example, a plaster ball00:10:33
is located on a cube, then everything is determined by the00:10:35
source of Light, if the reflected rays00:10:37
are a little, its own shadow will be00:10:39
darker than the falling one. And if it’s a lot on the contrary,00:10:42
if the materials are different, then you need to00:10:44
observe their relationship to light00:10:47
in general, attention to the way the00:10:49
space is illuminated determines a lot with the cube,00:10:52
everything is a little simpler, most often the illuminated side is drawn in00:10:54
triton, the side with00:10:56
pluto and the country in the shadow on the border between the00:10:59
shadow plane and the illuminated one will be the00:11:02
edge of its own shadow, and the sides themselves00:11:05
Alexander Ryzhkin advises not to paint in a00:11:07
monotonous tone, change the pulsation00:11:09
of light and shadows here are always reflexes00:11:11
and the surface changes depending on00:11:14
the lighting, it will not be the same type00:11:17
Marco bucci in his master class00:11:19
shows how he begins a digital drawing00:11:21
using only 2 tons of light and00:11:24
dark, as if revealing a name with the help of00:11:27
chiaroscuro, the portrait works with rigid00:11:30
forms, first highlighting only two00:11:32
contrasting options without transition, he00:11:34
talks about how important it is to build a00:11:36
drawing, developing it thanks to the00:11:38
ability to see everything through two tones, and00:11:41
only at the second stage does he add00:11:43
halftones to the drawing, smoothing out the sharp00:11:45
transition between contrasting areas. And00:11:47
at the third stage, he adds Reflex, which00:11:49
highlights the face in the right places and the00:11:52
portrait gradually begins to emerge00:11:53
from the darkness at the last stage, he00:11:56
builds, using the ambient00:11:58
occlusion technique, a background darkening of a knot of00:12:01
ambient lighting in ordinary00:12:03
painting without the help of digital programs, the00:12:05
participation of the environment in the play of light and shadow00:12:08
will have to be considered by yourself, learn to00:12:10
observe and notice the nuances, show the00:12:13
effect of lighting on objects to the00:12:15
painter often you have to depict00:12:17
light objects with dark paint and dark ones with light paint;00:12:19
to see such a dependence in00:12:22
nature caused by the peculiarity of the given00:12:24
lighting conditions means to convey00:12:26
the atmosphere.00:12:27
Valery Skuridin in his article00:12:29
talks about how important it is to look at00:12:31
how the edges of any object in the drawing00:12:33
come into contact with everything else, with00:12:36
other objects and the background, this is important00:12:39
when it comes to drawing00:12:41
not one form separately, but a form in the environment, the00:12:44
same object with the same00:12:46
lighting affects everything00:12:48
around it differently, somewhere it can be brightly00:12:51
outlined by a dark background, and somewhere it can be00:12:53
strong darker and somewhere to merge with00:12:55
the environment attention to this00:12:57
helps to make the space alive igloo00:13:00
in general developing one’s powers of observation has00:13:03
never hurt anyone Iowa00:13:05
exercises and drawing methods are only to00:13:08
help And that’s all we have for today Draw,00:13:10
study, train and watch our00:13:13
channel Don’t miss you bye everyoneDescription:
❄️ Что такое тон в рисунке и почему он важнее цвета? Как проверять тоновую композицию и как «прокачать» понимание тона? Отвечаем на эти и другие вопросы в нашем ролике! Обратите внимание, это перезалив с нашего второго канала :) ✨ШКОЛА ЦИФРОВОГО РИСУНКА И КОНЦЕПТ-АРТА: https://smirnov.school/ МЫ В СОЦСЕТЯХ: ☛ VK » https://vk.com/smirnovschool ☛ FACEBOOK » https://www.facebook.com/unsupportedbrowser ☛ INSTAGRAM » https://www.facebook.com/unsupportedbrowser ☛ TELEGRAM » https://t.me/smirnovschool ☛ СОТРУДНИЧЕСТВО СО ШКОЛОЙ И КАНАЛОМ» [email protected]
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