Please dear friend, bear in mind as we begin this look at the subject of drawing that my point of view throughout this book is largely centered on painting from life. Working from a photo is fundamentally different. Why? Because one of the many challenges in working from life is the transformation of a three dimensional image into two dimensions, which has, in a limited way, already been done for us in a photo. Unfortunately that same convenience carries with it the intrinsic limitations of photography (compared to the measureless range of human vision). In any case, whether you work from life or otherwise, you must be sharp and never drift into thinking drawing is a casual skill. Of course if you trace your pictures from a projected image, only some of what I have to offer here or elsewhere in this book will be of any relevance. 亲爱的朋友，请记住，在我们开始探讨绘画主题时，我在整本书中的观点主要集中在写生绘画上。从照片作画是根本不同的。为什么呢？因为在写生绘画中的许多挑战之一是将三维图像转化为二维图像，而这在照片中已经以有限的方式完成。不幸的是，同样的便利性也带来了摄影的固有局限性（与人类视觉的无限范围相比）。无论如何，无论您是从实物还是其他方式作画，您都必须保持敏锐，永远不要认为绘画是一种随意的技能。当然，如果您从投影图像中描绘图片，我在这本书中提供的部分内容或其他地方的内容将会有一定的相关性。
GENES DON'T HELP 基因无济于事
There is a popular notion that artists are artists because they are somehow born with a unique ability to draw. As we who draw as part of our life's work know, that is not true, but the impulse to draw is definitely within each of us in childhood. All kids from all cultures make scribbles and eventually images of a sort, but no soul arrives in this world endowed with the necessary skills to convincingly depict visual reality with a pencil or brush. I have never known of a painter who could do it without some structured training. That doesn't necessarily mean art school, because there are a few other ways these skills can be acquired. For example, if you were lucky as a youngster, and you had an obvious love of drawing, you might have had parents or teachers (as I did) who gave support or even early lessons. The Atelier system (studio apprentice) is another example. Every artist I have asked about their own early start in art tells more or less the same story of loving to make pictures and getting encouragement and help in doing it. Even the self-taught probably have a well-stocked library of how-to-do-it drawing books. 有一种流行的观念认为艺术家之所以成为艺术家，是因为他们天生具有独特的绘画能力。作为我们生活中绘画的一部分，我们知道这并不是真的，但绘画的冲动确实存在于我们每个人的童年时期。所有文化背景的孩子都会涂鸦，最终会画出各种图像，但没有一个灵魂天生具备用铅笔或画笔生动地描绘视觉现实所需的技能。我从未听说过有画家能够在没有经过一些结构化训练的情况下做到这一点。这并不一定意味着要上艺术学校，因为还有其他几种方式可以获得这些技能。例如，如果你在年幼时很幸运，并且热爱绘画，你可能有父母或老师（就像我一样）给予支持甚至早期的课程。工作室学徒制度是另一个例子。我询问过的每位艺术家关于他们自己在艺术上的早期起步几乎都讲述了相同的故事，即热爱绘画并得到鼓励和帮助。即使是自学的人可能也有一本丰富的绘画技巧书籍库。
DRAWING IN THE CONTEXT OF PAINTING (Please read this carefully.) 绘画背景下的素描（请仔细阅读。）
For most of us, the word "drawing" brings to mind an outline of something. This deeply ingrained assumption originates in childhood when we learned to use lines to make pictures. Yet in real life there are no lines around things. As beautiful as many line drawings are, they are only linear diagrams of what we see. Painting, on the other hand, the kind I am dealing with here, attempts to create a two dimensional depiction or visual replica of my world by using all of the visible treats of Mother Nature-her limitless colors, her range of brightness and darkness, and her ever-changing tapestry of multicolored forms. 对于我们大多数人来说，“绘画”这个词让我们想到的是某物的轮廓。这种根深蒂固的假设起源于童年，当我们学会用线条来画图时。然而在现实生活中，事物周围并没有线条。尽管许多线条画作品很美，但它们只是我们所看到的东西的线性图表。另一方面，我在这里讨论的绘画试图通过使用大自然所有可见的特征——她无限的颜色、明暗的范围以及不断变化的多彩形式的织物，来创造一个二维描绘或视觉复制品。
So, throughout this book when I use the word "drawing," I mean the size, shape, and arrangement of all the patches of color which collectively make things look the way they do (and which also constitute a painting). When I render those patches the right size, the right shape, and fit them together with their distinctive edges and colors, my painting will look like my subject. If I fail to do that, it will not. It will look different. 因此，在本书中，当我使用“绘画”一词时，我指的是所有颜色块的大小、形状和排列方式，这些颜色块共同使事物看起来如何（也构成一幅画）。当我将这些颜色块渲染成正确的大小、正确的形状，并将它们与其独特的边缘和颜色组合在一起时，我的绘画将看起来像我的主题。如果我未能做到这一点，它将不会。它会看起来不同。
WHY DRAWING IS SO IMPORTANT 为什么绘画如此重要
Sound drawing is the skill which allows all of the other visual elements to come together and form a true-to-life image. Why? Because colors, values, and edges are meaningless shapes by themselves. They are like the letters of the alphabet or individual musical notes in a scale - mere sounds or little black marks on a page until they are rationally arranged and joined just so. Only then do they make sense and thus facilitate instant recognition and convey meaning. Skillful drawing is just like that. It is the ability to see those shapes (notes and letters) in a landscape or a child's face and replicate them as a painting. 声音绘画是一种技能，它使所有其他视觉元素能够汇聚在一起，形成一个栩栩如生的形象。为什么？因为颜色、价值和边缘本身是毫无意义的形状。它们就像字母表中的字母或音阶中的单个音符 - 只是页面上的简单声音或小黑点，直到它们被合理地排列和连接在一起。只有这样，它们才有意义，从而促进即时识别并传达含义。熟练的绘画就是这样。它是能够看到风景或孩子的脸上的这些形状（音符和字母），并将它们复制成一幅画的能力。
WHAT IT TAKES 需要什么
Although drawing from life is a skill that must be learned, it isn't like learning to swim or ride a bicycle. Once you get the knack of it, you can't just relax and let it happen all by itself. It takes constant practice and the resolute dedication of a bird dog. Why? Because it is not a physical skill, or simply a body of information like English grammar or arithmetic. Drawing is a mental discipline - a state of mind requiring heightened perception, observational skill, and analytic ability. You might say it is perpetual learning, because it deals with continual variables rather than the repetition of memorized data or images. I always have the fond hope that someday it will get easier, but it never does. Sound drawing always demands great care right down to the last dab in my painting. 尽管素描是一项必须学习的技能，但它并不像学游泳或骑自行车那样。一旦掌握窍门，你不能只是放松下来，让事情自然发生。这需要持续的练习和坚定的奉献精神。为什么呢？因为这不是一项身体技能，也不仅仅是像英语语法或算术那样的信息体系。素描是一种精神修养 - 一种需要高度感知、观察技巧和分析能力的心态。你可以说它是永恒的学习，因为它涉及持续变量而不是记忆数据或图像的重复。我总是怀着美好的希望，希望有一天会变得更容易，但事实并非如此。精准的素描始终要求极大的细心，直到我画作的最后一笔。
Interestingly, children under ten years or so are not the least concerned when their art doesn't look the way things do to grown-ups. This is because when little kids draw they are not trying to replicate nature (they couldn't anyway). They are simply telling a story. Adult drawing should not be forced upon them at an early age, because certain motor skills and mental developments should be allowed to happen at each child's individual pace first. 有趣的是，十岁以下的孩子在画画时并不关心作品看起来是否符合成年人的看法。这是因为小孩画画时并不试图复制自然（他们也做不到）。他们只是在讲述一个故事。不应该在孩子很小的时候强迫他们学成年人的画画，因为某些运动技能和心理发展应该首先允许以每个孩子独特的步调发展。
I LIKE LINES TOO 我也喜欢线条
I do not mean to dismiss line drawing as being in any way inferior to painting. By itself it is a separate and beautiful art form with endless expressive power. My point is this: from here on I use the word drawing to mean the character, the dimensions, and the relationships of elements in a direct painting from life, not necessarily to the art of linear representation. All forms of art have their strengths and limitations. One is not better than another, but each does certain things better than another. 我并不是要贬低线描绘，认为它在任何方面都逊色于绘画。线描本身是一种独立而美丽的艺术形式，具有无穷的表现力。我的观点是：从现在开始，我使用“线描”一词来指代直接从生活中绘制的绘画的特征、尺寸和元素之间的关系，而不一定是线性表现的艺术。所有形式的艺术都有其优势和局限性。没有一种比另一种更好，但每种都比另一种更擅长某些事情。
Having said all of the above, I must hasten to say line drawings are universally used (and often indispensable) in various early and middle stages of paintings as temporary guides in all media. Please refer back to pages 69 and 73 for examples. 说了以上所有内容，我必须赶快说，线描在各种绘画的早期和中期阶段普遍被使用（并且常常是必不可少的），作为所有媒介中的临时指导。请参考第 69 页和第 73 页的示例。
WHY DOES DRAWING SEEM HARD? 为什么画画看起来那么困难？
It shouldn't. After all, at its core most drawing is simply measuring and seeing the relationships among shapes. As it applies to direct painting from life, it comes down to little more than figuring out the width and height of color shapes and then fitting them together one at a time (assuming you have already determined what shape is to be measured). Still, certain things about drawing remain very difficult for nearly everyone. 它不应该。毕竟，在其核心，大多数绘画只是测量和观察形状之间的关系。就直接从生活中绘画而言，它归结为不过是弄清楚颜色形状的宽度和高度，然后逐一将它们拼合在一起（假设您已经确定了要测量的形状）。尽管如此，关于绘画的某些事情对几乎每个人来说仍然非常困难。
I find it odd when I think about it because drawing is the only aspect of the images we work with which deals with a measurable and definable aspect of the visible world. The other three elements: colors, value, and edges, are relative qualities with generous room for interpretation. By contrast, drawing is about specific dimensions. If a nose or other feature in your painting is "out of drawing," it is either: 当我考虑到这一点时，我觉得很奇怪，因为绘画是我们处理的图像中唯一涉及可衡量和可定义的可见世界方面。另外三个元素：颜色、价值和边缘，是相对的品质，有很大的解释空间。相比之下，绘画是关于具体的尺寸。如果你绘画中的鼻子或其他特征“绘制不准确”，要么是：
TOO BIG. 太大。
TOO SMALL. 太小。
THE WRONG SHAPE. 错误的形状。
IT DOESN'T FIT CORRECTLY WITH THE OTHER FEATURES. 它与其他特征不相符。
All of the above are measurable qualities which can be verified with a ruler or calipers. Therefore, you would think good drawing could be nailed down exactly, or it is almost mathematical, but as we all know it doesn't quite work out that way. Theoretically at least, all things visible in this universe, including many invisible things (empty space, for example) can be measured with precision when they are reduced to two dimensions on a flat canvas. Well, not quite everything. Fog and mist, blazing fires, flying birds, explosions, squirmy little children, rain, crashing waves, and other such things are a bit hard to pin down. On the other hand, houses, mountains, grown-up people who sit still, and potted plants, all have very definite sizes and shapes which present us with measurable dimensions-but even then we still miss the mark! 以上所有都是可用尺子或卡钳验证的可测量品质。因此，你可能会认为好的绘画可以被准确地确定下来，或者几乎是数学的，但众所周知，事实并非完全如此。至少在理论上，这个宇宙中所有可见的事物，包括许多看不见的事物（比如空间），当它们被缩减到平面画布上的二维时，都可以被精确测量。嗯，并非所有事物都是如此。雾和薄雾、熊熊燃烧的火焰、飞翔的鸟儿、爆炸、蠕动的小孩、雨、翻滚的海浪以及其他类似的事物都有点难以捉摸。另一方面，房屋、山脉、静坐的成年人和盆栽植物都有非常明确的尺寸和形状，呈现出可测量的维度-但即便如此，我们仍然偏离了目标！
GIRL IN A WHITE DRESS 白色连衣裙的女孩
oil on canvas, 帆布油画，
Careful drawing need not result in "tight" or excessively detailed work. On the contrary. As this little painting shows, drawing well gives me the freedom to play with interesting brushwork as much as I please. Control through fine drawing is the key. 细致的绘画不一定会导致“紧绷”或过分详细的作品。相反。正如这幅小画所示，良好的绘画让我有自由发挥有趣的笔触，尽情地玩耍。通过精细的绘画控制是关键。
"Looseness," as I am very fond of pointing out, should be the way a painting LOOKS, not how it is accomplished. “松散”，正如我喜欢强调的那样，应该是一幅画看起来的方式，而不是完成的方式。
Many of the loosely painted bravura works from the great period of painting in the 19th century were done with slow and deliberate brushstrokes. 19 世纪绘画的伟大时期许多宽松绘制的壮丽作品都是通过缓慢而审慎的笔触完成的。
Masters such as Elizabeth Sparhawk-Jones (before her illness), John Singer Sargent, Cecilia Beaux, Anders Zorn, Joaquín Sorolla, William Merritt Chase, Robert Henri, and the man called "the Master of Swish," Giovanni Boldini, and others, were professionals who planned and thought carefully before touching a canvas with paint. 伊丽莎白·斯帕霍克-琼斯（在她生病之前）、约翰·辛格·萨金特、塞西莉亚·博、安德斯·宗恩、瓦金·索罗拉、威廉·梅里特·查斯、罗伯特·亨利，以及被称为“风格大师”的乔瓦尼·博尔迪尼等大师，都是那些在动手涂抹画布之前认真策划和思考的专业人士。
Unlike super-tight realism, which tends to downplay a painterly look, the dashing style of bravura painting combines the resplendent qualities of paint itself with the experienced discipline of controlled application. 与超紧密的写实主义不同，它倾向于淡化画家的外观，勇猛绘画的风格结合了油漆本身的辉煌品质和经验丰富的受控应用纪律。
The American illustrator Haddon Sundblom, who mastered Zorn's free flowing style, would sometimes plan his brushstrokes for an illustration by drawing each one beforehand with a light blue pencil outline, like a paint-by-number picture. Sundblom was famous worldwide for his depictions of Santa Claus in Christmas ads for Coca-Cola. Practices like his were not unusual in the commercial art business, where a client paid for an artist's recognized style. 美国插画家哈登·桑德布隆精通宗恩的自由流畅风格，有时会用浅蓝色铅笔轮廓提前绘制每一笔描绘，就像按数字绘画一样。桑德布隆以为可口可乐的圣诞广告中的圣诞老人形象而闻名于世。像他这样的做法在商业艺术界并不罕见，客户为艺术家的公认风格付费。
THE PROBLEM 问题
If almost every shape can be measured, why is drawing so tricky? Why can some people see that their picture is "out of drawing," but cannot see where the mistakes are? Why are others not even aware their drawing is wrong - that it does not even remotely resemble their subject? 如果几乎每种形状都可以被测量，为什么绘画会如此棘手？为什么有些人能够看出他们的画“画得不对”，却看不出错误在哪里？为什么有些人甚至没有意识到他们的画是错误的 - 它甚至与他们的主题完全不相似？
To begin with, I don't have to construct my face in the mirror each morning the way I do a portrait. My face is already there-complete and quite handsome too-and I simply recognize myself (backwards, no less). I do not have to scan myself analytically as I would a subject to be painted. In my usual early morning stupor I am not conscious of my specific facial relationships and dimensions - the things I must figure out from scratch when I do a portrait. 首先，我不必每天早晨在镜子前构建我的脸，就像我画肖像那样。我的脸已经在那里-完整而相当英俊-我只是认出了自己（甚至是倒过来）。我不必像画一幅主题那样对自己进行分析扫描。在我通常的清晨昏迷中，我并没有意识到我的具体面部关系和尺寸-这些是我在画肖像时必须从头开始弄清楚的事情。
The very last thing on this earth I could possibly imagine doing before I've had my first cup of coffee in the morning, would be to measure my eyes and nose and ears! (It's hard enough just keeping my eyes open.) Later of course, I must make similar measurements as a routine part of my job as a painter. In a portrait, for example, it is the effort of determining those exact measurements and alignments that is often so taxing. 在早晨喝第一杯咖啡之前，我能想到的最后一件事就是测量我的眼睛、鼻子和耳朵！（保持眼睛睁开已经够难了。）当然，稍后作为画家工作的例行程序，我必须进行类似的测量。例如，在肖像画中，确定这些精确的测量和对齐通常是如此费力的一部分。
One reason it is sometimes hard for me to grasp those measurements, and then make them fit together just so, is that I must measure the shapes of color which make up my sitter's features rather than the features themselves. To make matters even more interesting, those shapes change with the light and angle of view. The same holds true for any subject. Landscapes and still lifes are just different arrays of large, small, and medium-sized colored forms. Most of them are abstract shapes. Sometimes though they will be geometric, resembling squares, rectangles, triangles, and so on. 有时让我难以理解这些测量的原因，然后让它们完美契合在一起的是，我必须测量构成模特特征的颜色形状，而不是特征本身。更有趣的是，这些形状会随着光线和视角的变化而改变。对于任何主题都是如此。风景和静物只是大、小和中等大小彩色形状的不同排列。其中大部分是抽象形状。有时候它们会是几何形状，如正方形、长方形、三角形等。
Each time I begin a painting, I am dealing with a fresh set of configurations to untangle. As if all of that were not enough, many of the shapes I see are so hazy, figuring out where each stops and another begins (how they blend) can often seem impossible. (My childhood coloring books seemed so much easier.) 每次我开始一幅画时，我都要处理一组全新的配置来解开。仿佛这一切还不够，我看到的许多形状都很模糊，弄清楚每一个停止的地方和另一个开始的地方（它们如何混合）常常似乎是不可能的。（我的童年涂色书看起来简单多了。）
It isn't impossible though. The way in which shapes join together to form a realistic image is a fascinating subject, and it can be mastered like anything else. It is called the study of EDGES, and I discuss them at considerable length in Chapter Six. Try the following if you want to see nature create and blend forms. Go out late on a hot summer afternoon to a meadow, or a park if you live in the city, with a blanket or reclining folding chair, and watch the clouds. Try to pick a day when billowy cumulonimbus (storm) clouds are forming and notice how shapes appear and then change and blend into one another to make larger sweeping forms. Such clouds are not only lessons in abstract shapes, they also demonstrate the full range and interaction of edges. 这并非不可能。形状如何相互连接以形成逼真的图像是一个迷人的主题，它可以像其他任何事物一样被掌握。这被称为边缘的研究，在第六章中我会详细讨论它们。如果你想看到大自然创造和融合形式，请尝试以下方法。在一个炎热的夏日下午晚些时候，去草地上，或者如果你住在城市，去公园，带上毯子或躺椅，观察云彩。尽量选择一个积雨云（暴风雨）云朵形成的日子，注意形状如何出现，然后改变并融合在一起形成更大的扫描形式。这样的云不仅是抽象形状的教训，它们还展示了边缘的全部范围和互动。
THE EARLY ROOTS OF HOW WE LEARN TO SEE 我们学会看的早期根源
Very little in our early learning and development prepares us for the task of critical observation as we paint. Knowledge is wonderful, but the way in which we are taught can make the job of painting a bit more taxing because of what we must unlearn. Whether we are self-taught or receive formal instruction, the most common direction of teaching is from the parts to the whole, rather than a holistic way from the onset. We learn about basic forms such as cubes, cylinders, cones, spheres, human form, foregrounds, backgrounds, perspective, and so on. As useful as those things are, all such studies are simply ways to sort out the visual world into easily understood parts. It isn't until we get into serious painting that we are forced to finally deal with the more sophisticated challenge of depicting the fully intact whole of what we see before us. 我们早期的学习和发展中很少有东西能为我们绘画中的批判性观察任务做好准备。知识是美好的，但我们接受教育的方式可能会使绘画工作变得更加费力，因为我们必须放下的东西太多。无论是自学还是接受正规指导，教学的最常见方向都是从部分到整体，而不是从一开始就以整体的方式。我们学习基本形式，如立方体、圆柱体、圆锥体、球体、人体形态、前景、背景、透视等。尽管这些内容很有用，但所有这些研究只是将视觉世界整理成易于理解的部分的方法。直到我们认真绘画时，我们才被迫最终面对更复杂的挑战，即描绘我们眼前所见的完整整体。
I hasten to say, the blizzard of information we take in as children (the socialization process) is all very necessary if we are to survive and function in society. Perhaps the parts-to-the-whole teaching is a necessary step for a young mind. In infancy we rely heavily upon our sense of touch and sight to explain the world around us. At the same time we acquire language and are taught the names of the many thousands of things we must know about. Thus begins the process of categorizing our curious new world instead of understanding it as an all-embracing totality. 我急于说，我们作为儿童接受的信息暴风雪（社会化过程）是非常必要的，如果我们要在社会中生存和发挥作用。也许，从部分到整体的教学是年幼心灵的必要步骤。在婴儿期，我们严重依赖触觉和视觉来解释我们周围的世界。与此同时，我们学会语言，并被教导我们必须了解的成千上万事物的名称。因此，开始了对我们这个充满好奇的新世界进行分类而不是理解它作为一个包罗万象的整体的过程。
At a certain point in middle childhood, when we begin to draw recognizable things, we further separate them from "empty" space and delineate them as outlines. Later, in art school, this preoccupation with form expressed as an outline is further reinforced as we learn to model the outline drawing with shading-further isolating objects in space and disregarding any relationship to their surroundings. 在中期童年的某个时候，当我们开始画出可识别的事物时，我们进一步将它们与“空白”空间分开，并将它们勾勒出轮廓。后来，在艺术学校，对形式的这种关注表现为轮廓进一步得到强化，因为我们学会用阴影来描绘轮廓，进一步将物体孤立在空间中，并忽略与周围环境的任何关系。
It is analogous to taking apart my computer to understand how it works - a sensible idea for learning what is inside-but when the bits and pieces are spread about, they do not look like the computer because they have ceased to be a singular functioning device. It is only after I have examined the parts, then reassembled them and turned it on, that I can understand the wholeness of the machine. 这就好比拆开我的电脑来了解它的工作原理——这是一个理智的学习方法，可以了解内部结构——但当零件散落时，它们看起来不像电脑，因为它们已经不再是一个单一的工作设备。只有在我检查了这些部件，重新组装并打开电脑后，我才能理解整个机器的完整性。
Our task then when we paint is to restore the original complex web that was so carefully taken apart. To do that convincingly we must deal with the actual information reaching our retinas - and that is what drawing , as it applies to painting. 我们绘画时的任务是恢复那个被精心拆解的原始复杂网络。为了真实可信地做到这一点，我们必须处理抵达我们视网膜的实际信息 - 这就是绘画所涉及的绘图 。
THE VISUAL FIELD AS PAINT 视觉领域作为绘画
What we are literally seeing when our eyes are open (and there is light), is a two-dimensional panorama of the world immediately before us, plus a bit of peripheral vision. Two slightly different inverted images spaced about two and one half inches apart (yes, I measured it) are received by our retinas. Those images zoom through our optic nerves to our brain and are processed there, giving us a three-dimensional-right-side-up version of the world-and we do it all at nearly the speed of light. What a trick! Learning to draw seems like child's play by comparison (but it isn't). 当我们睁开眼睛（并且有光线）时，我们实际看到的是我们眼前世界的二维全景，以及一点点的周围视野。两个略有不同的倒置图像相距约两英寸半（是的，我测量过），被我们的视网膜接收。这些图像通过我们的视神经迅速传送到大脑，在那里被处理，为我们呈现出一个立体正立的世界版本，而我们几乎以光速完成这一切。多么神奇的技巧！相比之下，学习绘画看起来就像小孩的游戏（但实际上并非如此）。
Normally, as we gaze out across a scene we automatically separate objects in our field of vision from the space around them; then we organize the whole scene in terms of what things are - their sizes, shapes, local colors, and distances. The sky is big and empty, the barn is nearer and red and not so big, the cows are tiny and far away and have black spots, and so on. This is how we are able to make sense of the blizzard of light fragments striking our eyes. We recognize and identify patterns we are familiar with, and we give them names and colors and shapes. Then we put all of them together and call it a farm under a summer sky. Seeing the world this way is a marvelous thing indeed, a triumph of evolution, vital to our survival, and great to have when driving on the Los Angeles freeways, but a bit of a hindrance in painting from life. 通常，当我们凝视着一个场景时，我们会自动将视野中的物体与周围的空间分开；然后我们根据事物的大小、形状、局部颜色和距离来组织整个场景。天空辽阔而空旷，谷仓更近，是红色的而且不是很大，牛很小很远，有黑色斑点，等等。这样我们才能理解眼睛中光碎片的风暴。我们识别和辨认我们熟悉的模式，并给它们命名、颜色和形状。然后我们把它们全部放在一起，称之为夏日天空下的农场。以这种方式看世界确实是一件了不起的事情，是进化的胜利，对我们的生存至关重要，在洛杉矶高速公路上驾驶时也很有用，但在写生绘画时却有点妨碍。
When we paint, we must transform our three-dimensional experience into two dimensions so we can put it on our twodimensional canvas. This means we must view what we are seeing as an arrangement of shapes on a vertical plane, not an assortment of items separated from one another in space. It is embarrassingly similar, at least in principle, to what we see in jigsaw puzzles, outdoor billboard painting, and paint-by-number kits. (There is indeed a tiny grain of truth in the weary old joke: The secret of a successful painting is covering up all the numbers). 当我们绘画时，我们必须将我们的三维体验转化为二维，这样我们才能将它放在我们的二维画布上。这意味着我们必须将我们所看到的东西视为垂直平面上的形状排列，而不是空间中相互分离的物品组合。至少在原则上，这与我们在拼图、户外广告绘画和按数字涂色套件中看到的情况非常相似，这有点尴尬。（至少在一个成功绘画的秘诀中确实有一点点真理：掩盖所有数字）。
To get serious again, let me show you an example on the opposite page. The sky in my landscape painting does not continue behind the trees as it does in real life. The "sky" in this case is simply a color shape which stops at the edges of other color shapes (the tree branches), then reappears as a similar color shape at the opposite edge of the paint shapes of the branches. The enlarged images, Detail B and Detail C, show this clearly. 严肃起来，让我在对面的页面上给你展示一个例子。我的风景画中的天空并不像现实生活中那样延续到树木的后面。在这种情况下，“天空”只是一个颜色形状，它在其他颜色形状的边缘（树枝）停止，然后重新出现在画枝条的相反边缘作为类似的颜色形状。放大的图像，细节 B 和细节 C，清楚地展示了这一点。
It may sound simplistic to mention something so obvious, but in practice it is not so easy to summon up enough cool objectivity to see something as evocative as the sweetly poignant look in a child's eyes as merely an assembly of flat patches of color. It goes contrary to the emotional logic of our experience. Moreover, it is not easy to identify shapes when they have indistinct edges and blend often imperceptibly into adjacent shapes. Nevertheless, this is what must be done, because painting the innocence in a child's expression is impossible, but painting the pattern of color shapes which constitute her expression is definitely possible. 可能听起来很简单，提到如此明显的事情，但实际上要召集足够冷静客观的态度来看待一个孩子眼中那种甜蜜而令人感伤的表情，却并非易事。这违背了我们情感经验的逻辑。此外，当形状边缘模糊不清，常常与相邻形状融为一体时，要识别形状也并非易事。然而，这正是必须做的，因为描绘一个孩子表情中的纯真是不可能的，但描绘构成她表情的色彩形状图案却是完全可能的。
BRATTLEBORO BARNYARD oil on canvas, , Detail A BRATTLEBORO BARNYARD 油彩画布， ，细节 A
Detail B 细节 B
Detail C 细节 C
I find men easier to paint compared to women and children, especially men who have beards, rugged features, and angularity of facial bone structure. Such things are not only easy to grasp (and therefore easy to get right), but they also lend themselves to bold brushstrokes, which are always nice. 我发现相对于女性和儿童，男性更容易绘画，尤其是那些有胡须、粗犷特征和面部骨骼角度的男性。这些特征不仅容易把握（因此容易做到准确），而且适合大胆的笔触，这总是令人愉悦的。
The other thing about beards and hats is that they hide some of the hard parts. In painting a head, for example, I have always found the line of the jaw, the mouth, and the chin to be the most demanding anatomical features. Eyes, noses, and ears are no problem for me because they have so many easy-to-see shapes. Also, there is no movement in the nose or ears, and not much in the eyes themselves. Eyes merely open or close, or look left or right, up or down. It is the eyebrows that have greater mobility and signal expression. 关于胡须和帽子的另一件事是它们隐藏了一些难画的部分。例如，在画头部时，我总是觉得下巴的线条、嘴巴和下巴是最具挑战性的解剖特征。眼睛、鼻子和耳朵对我来说不是问题，因为它们有很多容易看到的形状。此外，鼻子或耳朵没有太多的运动，眼睛本身也没有太多。眼睛只是睁开或闭上，或向左或向右、向上或向下看。眉毛具有更大的活动性和表达信号。
Contrary to popular belief, it is the mouth, not the eyes, that conveys the majority of facial expression, which is why the slightest error in painting a mouth can cause my result to look ridiculous. 与普遍看法相反，面部表情的大部分传达是通过嘴巴而不是眼睛完成的，这就是为什么在绘画嘴巴时即使是最细微的错误也可能导致我的作品看起来荒谬可笑。
The jaw and chin are tricky because their forms are so subtle and smooth. Also the jaw can change dramatically with age or weight gain. A beard and mustache or both can neatly veil all of these sensitive areas. 下巴和下巴是棘手的，因为它们的形态是如此微妙和平滑。此外，下巴的形状会随着年龄或体重增加而发生巨大变化。胡须和胡须或两者都可以巧妙地遮盖所有这些敏感区域。
Another great benefit of a bewhiskered face is that it provides tempting opportunities for interesting edges. 另一个留着胡须的好处是，它为有趣的边缘提供了诱人的机会。
Note also in this head study that there are two distinct light sources - a warm one on the model's left, and a cool one on his right. 请注意这个头部研究中有两个明显的光源 - 一个温暖的在模特的左边，一个凉爽的在他的右边。
This picture remains in my personal collection because I have always regarded it as one of the most rewarding portraits I have ever done. It was a three hour study painted at the Palette & Chisel Academy in the 1980s. 这幅画一直留在我的个人收藏中，因为我一直把它视为我所做过的最有价值的肖像画之一。这是上世纪 80 年代在 Palette & Chisel Academy 进行的一个为期三小时的写生。
It is hard for me to imagine any other choice but to paint those color fragments and just let go of what I know about what they are. The only question I need to address as I paint is how to see the shapes before me as accurately as I can, and then fit them together properly. It took lots of practice under Bill Mosby's patient guidance, but now I see them. Most of the time I am able to paint the shapes correctly because I have disciplined myself to do them one at a time very carefully. Nearly seventy years of experience helps too. 很难想象我还有其他选择，只能绘制那些色彩碎片，然后放下我对它们的认识。在绘画时，我需要解决的唯一问题是如何尽可能准确地看到眼前的形状，然后将它们正确地拼合在一起。在比尔·莫斯比（Bill Mosby）耐心的指导下进行了大量练习，现在我看到了它们。大多数时候，我能够正确地绘制这些形状，因为我已经训练自己非常仔细地一次做好一件事。将近七十年的经验也有所帮助。
MEASURING AND COMPARING TO GET IT RIGHT 测量和比较以确保准确
After my block-in is complete and I'm ready for the meticulous no-nonsense phase of my creation, I take a deep breath and look carefully at the place on my subject I have decided to deal with first. I make the determination by asking myself what I wish to capture above all else. In other words I ask what is it I want to see happen first on my canvas so I know I'm on the right track. Only then can I ease back a bit and start to enjoy the process. The answer of course is easy because I decided what it would be the first moment I decided to paint my subject. 在我完成了画作的初步构图并准备进入细致严谨的创作阶段后，我深吸一口气，仔细观察我决定首先处理的主题部位。我通过问自己最想捕捉的是什么来做出决定。换句话说，我问自己在画布上最想看到的是什么，这样我就知道自己走在正确的道路上。只有在那之后，我才能稍微放松一下并开始享受创作的过程。当然，答案很明显，因为我在决定绘制主题的第一刻就已经确定了。
Zeroing in then on my target, I carefully measure the first thing I put down on my canvas, and then measure it again to make sure it is precisely correct, because it is the building block of all else to come. Then I measure the next shape and compare it to the first one. Next comes the third shape and I check it against the first two. The fourth is then placed and measured against the first three. I keep doing that over and over and over until I have the cow under the summer sky or whatever. It's a bit like laying bricks, except each "brick" (brushstroke) is unique, and instead of just ending up with a wall, I could end up with a great world-shaking, fabulously valuable, masterpiece of art! 将目标锁定在我的画布上，我仔细测量我放在画布上的第一件事物，然后再次测量以确保它是准确无误的，因为它是所有其他事物的基石。然后我测量下一个形状并将其与第一个形状进行比较。接着是第三个形状，我将其与前两个进行对比。第四个形状随后被放置并与前三个进行测量。我一遍又一遍地重复这个过程，直到我在夏日天空下画出了牛或其他什么东西。这有点像砌砖，只不过每个“砖块”（笔触）都是独一无二的，而且我不仅仅是要建造一堵墙，我可能会创作出一个震撼世界、价值连城的艺术杰作！
For me this way of working is very important, because as the brushwork progresses, so does a reassuring and very necessary momentum of confidence. I know it may seem rather tedious, and it certainly doesn't have the flair of the usual swashbuckling sketching associated with starting a painting, but what it lacks in swagger it makes up for in superb control. It does away with most of the usual laborious correcting and repainting, and that appeals to me. I think it is a waste of valuable painting time to spend rectifying what could have been done right in the first place. 对我来说，这种工作方式非常重要，因为随着笔触的进行，一种令人放心且非常必要的信心动力也在增强。我知道这可能看起来相当乏味，它确实没有通常与开始绘画相关的豪迈速写的风采，但它在出色的控制方面弥补了这一点。它省去了大部分通常费时的修改和重绘，这一点吸引了我。我认为把时间浪费在纠正本来就可以一开始就做对的事情上是对宝贵的绘画时间的浪费。
Q. How do I get my first shape right?
A. I choose one that is easy to identify so I can't miss. Q. Which shapes are easy to see? Q. Which ones are obvious?
A. The obvious ones.
A. Shapes having a clear geometry. 问：如何确保第一个形状正确？答：我选择一个容易识别的，这样我就不会错过。问：哪些形状容易看到？哪些是显而易见的？答：显而易见的。答：具有明确几何形状的形状。
By clear geometry I mean squares, circles, ovals, rectangles, triangles, anything with straight lines and clean edges, etc. I try to use shapes which also have strong values and/or colors. (It's the reason why they are obvious.) Usually I go first for a shape that is well defined, something pure white or black, or a highly saturated primary or secondary color. Those qualities are easy to see, which means my chances for getting them right are pretty good. 通过清晰的几何形状，我指的是正方形、圆形、椭圆形、矩形、三角形，任何有直线和清晰边缘的形状等。我尝试使用具有强烈价值和/或颜色的形状。 （这就是它们显而易见的原因。）通常我首先选择一个定义明确的形状，纯白色或黑色，或者高饱和度的主色或辅助色。这些特质很容易看到，这意味着我正确把握它们的机会相当不错。
In the past I have tried many things to get my judgments right. In my student days I would sometimes go up to the model with a ruler (if there is no other way) and physically measure the shape I needed. Of course it only worked when I was painting lifesize, and even then was not very reliable. Why? Because very few things in a subject can be measured and still correspond to what I see from where I stand when I'm painting. The models did not like it either, especially the figure models. Today, several more or less geometrical methods of drawing resurrected from the Italian Renaissance and other periods are being taught. Some are quite interesting, but none meet the full requirements of painting from life in one session (Alla Prima). In the end nothing beats having a well trained eye and mind. 过去，我尝试过许多方法来正确判断。在我还是学生的时候，有时我会拿着尺子走到模特身边（如果没有其他办法），亲自测量我需要的形状。当然，这只有在我绘制真人大小的作品时才有效，即便如此，也并不十分可靠。为什么呢？因为在一个主题中很少有东西可以被测量，而且仍然与我站在绘画时所看到的东西相对应。模特们也不喜欢这样，尤其是人体模特。如今，一些更或多或少从意大利文艺复兴和其他时期复苏的几何绘画方法正在被教授。有些方法相当有趣，但没有一种能完全满足在一个会话中（Alla Prima）从真实生活中绘画的全部要求。最终，没有什么比拥有一双训练有素的眼睛和头脑更重要。
THE REFERENCE POINT 参考点
The "trick" in measuring shapes and intervals is to select a typical shape, feature, or object in or on a subject as a unit of measure rather than relying entirely on memorized average proportions (although such things should be learned as well, as they can be very useful), or using inches or metrics. I find it much easier to select a single feature in my subject and paint it the size I want it to be (let's call it my reference point), and then measure everything else according to it. 测量形状和间隔的“诀窍”是选择主体中的典型形状、特征或物体作为测量单位，而不是完全依赖记忆的平均比例（尽管这些也应该学习，因为它们非常有用），或使用英寸或公制。我发现选择主体中的一个特征，并将其绘制为我想要的尺寸（我们称之为参考点）要容易得多，然后根据它来测量其他所有东西。
In doing a head, for example, I use the width of an eye, or the distance between corners of the mouth, or the width of the nose, as units of measure - in a full face pose, a sitter's proportions might be five eyes wide at the cheekbones, and seven eyes high from chin to hairline, and so on. In figure painting it is universal to describe a model as so many heads high, rather than sixty-six inches high. Horses are commonly described as so many hands high (human hands, that is, horses have no hands). My driver's license says I'm six foot one inch tall, but in a painting I would be about eight heads high. Although Nancy is much shorter than I, she is almost seven and a half heads high because her head is smaller than mine. Everything follows proportionally from the item I choose as my unit of measurement for the particular painting I am working on. In painting people, life size is the easiest because it is the size of the face you are most familiar with, the one you see in your mirror each day. 在绘制头部时，例如，我使用眼睛的宽度，或者嘴角之间的距离，或者鼻子的宽度作为测量单位 - 在正面姿势中，坐姿者的比例可能在颧骨处宽五只眼睛，在下巴到发际线处高七只眼睛，依此类推。在人物绘画中，通常会将模特描述为多少个头高，而不是六十六英寸高。马通常被描述为多少个手高（人的手，因为马没有手）。我的驾驶执照上写着我身高六英尺一英寸，但在一幅画中，我大约会高八个头。尽管南希比我矮得多，但她几乎有七个半头高，因为她的头比我的小。一切都按比例从我选择的特定绘画单位的项目中进行测量。在绘画人物时，真人大小是最容易的，因为它是你最熟悉的脸的大小，是你每天在镜子中看到的那个。
Smaller features, whether it's trees or structures in a landscape or bellybuttons on tummies, all have clear points of beginning and end, which make them easy to estimate and use for measuring. Because they are also short increments, you are more likely to get them correct than if you use a longer unit of measurement. It is always easier to judge the distance between someone's eyes than between their ears. Try it in a mirror and you'll see what I mean. 较小的特征，无论是风景中的树木或建筑物，还是腹部的肚脐，都有明确的起点和终点，这使它们易于估计并用于测量。由于它们也是较短的增量，您更有可能正确地测量它们，而不是使用较长的计量单位。判断某人眼睛之间的距离总是比判断他们耳朵之间的距离更容易。在镜子中试一试，你就会明白我的意思。
CAUTION: CURVES 注意：曲线
The outlines of contours present problems for many artists, particularly in figure or portrait painting. Here are some things to think about: Most curves are rarely as "curvy" as they first appear. Inexperienced artists usually exaggerate them. For example, an overly rounded cheekbone is one of the most common drawing mistakes in painting a head or indicating anatomy on a figure. Another frequent error is drawing the skull or outline of the head as a single unbroken curve (it isn't). The way to get around curves (pardon the pun) is to think of every curve as a series of straight lines which simply change direction. If you paint them with that in mind, they will be stronger, more interesting, and far more accurate than a single nondescript curve. 轮廓线对许多艺术家来说是一个问题，特别是在人物或肖像画中。以下是一些需要考虑的事项：大多数曲线很少像它们最初看起来那样“弯曲”。经验不足的艺术家通常会夸大它们。例如，过分圆润的颧骨是绘制头部或在人物上指示解剖结构时最常见的绘画错误之一。另一个常见的错误是将头骨或头部轮廓绘制为单个不间断的曲线（实际上并非如此）。避免曲线的方法是将每条曲线视为一系列简单改变方向的直线。如果你以此为出发点进行绘制，它们将比单一的不明确曲线更加坚实、有趣，也更加准确。
Finding the key drawing points in a subject and then fitting the pieces together is not particularly difficult, but it does call for patience and discipline. It's like laying bricks plumb and level-very repetitious, but very demanding of concentration. Using the front view of a head again as an example: An imaginary line drawn straight down from the inside corner of the eye will usually just touch the wing of the nostril. A similar line dropped down from the center of the eye could locate the corner of the mouth. Using my measuring units then (the width of an eye, shall we say), I only have to judge the distance down those lines to place the nose and mouth in correct relationship to the eyes. Likewise, imaginary horizontal lines drawn from the nose and eye corners will tell me exactly where the ears are. 在一个主题中找到关键的绘图要点，然后将这些要点拼凑在一起并不特别困难，但需要耐心和纪律。这就像垂直和水平地铺砖一样-非常重复，但需要高度集中注意力。再以头部的正面视图为例：从眼睛内角直接向下画一条虚拟直线通常会刚好触及鼻孔的翼。从眼睛中心向下垂直画一条类似的线可以定位嘴角。然后使用我的测量单位（比如说一个眼睛的宽度），我只需要判断这些线向下的距离，就可以正确地将鼻子和嘴巴放置在与眼睛的正确关系中。同样，从鼻子和眼角画出的虚拟水平线会准确告诉我耳朵的位置。
Unfortunately, problems do arise when a model moves. Live human beings enjoy breathing; they also like to blink, yawn, talk, stretch, shift position, and everything else when they pose. I can't sit still for more than a few minutes, so I'm amazed and grateful when others are willing to endure modeling. Most people are able to hold a pose well enough for my style of working because I always expect them to move somewhat. Even professional models are subject to the natural involuntary muscle adjustments a human body makes after long periods of holding one position. I am also very nice to my subjects. I like them bright, alert, comfortable, relaxed, and interested in what is happening. I think it is unnatural to stay in a fixed position, so I encourage my models to take breaks or move whenever they wish. I pose them so they will feel natural-my only requirement is they be able to return to their position if they drift off or take a break. 不幸的是，当模特移动时会出现问题。活生生的人喜欢呼吸；他们也喜欢眨眼、打哈欠、说话、伸展、换姿势，以及摆出姿势时的一切动作。我自己坐不住超过几分钟，所以当别人愿意忍受模特表演时，我感到惊讶和感激。大多数人能够保持足够长时间的姿势，适合我的工作风格，因为我总是预计他们会有些移动。即使是专业模特也会受到自然而然的肌肉调整的影响，这是人体在保持一个姿势很长时间后会做出的。我对我的模特也非常友善。我希望他们精神饱满、警觉、舒适、放松，并对发生的事情感兴趣。我认为保持固定姿势是不自然的，所以我鼓励我的模特随时休息或移动。我让他们摆出自然的姿势，我唯一的要求是如果他们走神或休息，他们要能够回到原来的姿势。
oil on panel, 油彩画板，
To accommodate their inevitable movement, I rely upon very thinly drawn contour and center lines placed during my block-in to guide me (like the latitude and longitude lines on a globe). You are probably familiar with drawing books with pictures of the head as an egg with a line down the front and back (dividing an imagined face in two lengthwise). Another line is drawn down and around the sides for the ears, and then several horizontal lines circumscribing the egg at the level of eyebrows, eyes, bottom of the nose, and center of the lips. I find contour lines such as those useful, and once I place them I do not change them until I complete the head, and the lines are covered with finished painting. However, before I reach that point, they remain as a constant guide and as a reference when I bring a subject back into correct position. You can see how important it is then to have the first thing right, and how it, in turn, generates other correct elements. 为了适应它们不可避免的移动，我依赖于在我的初步画板上放置的非常细的轮廓线和中心线来指导我（就像地球仪上的纬度和经度线）。你可能熟悉那些有关头部画法的书籍，头部被描绘成一个鸡蛋形状，前后各有一条线（将想象中的脸纵向分成两半）。另一条线画在两侧并环绕耳朵，然后在眉毛、眼睛、鼻子底部和嘴唇中心的水平线上画几条线勾勒出鸡蛋的轮廓。我发现这些轮廓线很有用，一旦我放置它们，我就不会在完成头部之前改变它们，这些线条会被完成的绘画覆盖。然而，在我达到那一点之前，它们仍然是一个恒定的指导，并且在我将一个主题带回正确位置时作为参考。你可以看到第一步是多么重要，以及它如何产生其他正确的元素。
IT ISN'T ALL DRUDGERY 这并不全是苦差事
I realize what I have just described sounds more like high school geometry than the sensitive act of creation, but I don't see any way around it. I must measure things because drawing has always been very hard for me. I do not have a special gift that allows me to do it naturally. Of course, measuring for competent drawing in itself isn't Art any more than scales and chords alone are Music. However, like those things, sound drawing for me is a technical requisite which must be present before my kind of Art can happen. Besides, there is no reason why a brushstroke can't be done with giddy passion and still be the right length and color! I love throwing paint around as much as anyone, and the last thing I want to do is take the fun out of painting. 我意识到我刚描述的听起来更像是高中几何而不是创作的敏感行为，但我看不出其他办法。我必须测量事物，因为对我来说画画一直很困难。我没有特殊的天赋让我能够自然地做到这一点。当然，单单为了胜任的绘画本身并不是艺术，就像单单音阶和和弦并不能构成音乐一样。然而，对我来说，准确的绘画是一种技术要求，必须在我这种艺术发生之前存在。此外，毫无理由认为一笔一划不能充满狂喜的激情，同时又是正确的长度和颜色！我喜欢随意挥洒颜料，就像任何人一样，我最不想做的事情就是让绘画失去乐趣。
The good news is, measuring by itself, even measuring the vague fuzzy shapes, gets easier with practice. The hard part is getting into the habit of doing it for every shape you paint. That takes real effort, but once you acquire it, you will experience a remarkable release, a sense of both freedom and control, the stuff of real power. Nothing will seem impossible when you realize you can draw well-all you have to do is get into the swing of measuring very carefully all the time. It is a state of high awareness, and it will let your brush dance in the same way virtuoso bowing technique makes a violin sing. 好消息是，即使是测量模糊的模糊形状，单独测量本身随着实践变得更容易。困难的部分是养成为每个你绘制的形状都这样做的习惯。这需要真正的努力，但一旦你掌握了它，你将体验到一种显著的释放，一种自由和控制的感觉，这是真正力量的要素。当你意识到你可以画得很好时，没有什么是不可能的-你所要做的就是始终小心地进行测量。这是一种高度警觉的状态，它将让你的画笔像大师的弓弦技术让小提琴歌唱一样舞动。
You can make it easier if you keep doing the simple, obvious things first. In this way you are likely to get them right, and they will help you to make the proper judgments about the more elusive shapes and colors. Resist the urge to do the hard parts first. (Those blurry grays and ambiguous shapes with lost edges.) For a while there back in my intense youth, I had it all backwards! I thought exactly the opposite-that I should get the hard stuff out of the way so I could relax and enjoy the easy things. Sounds familiar doesn't it? (Rather like dessert after the main course-a little reward after the serious nourishing part.) 如果你首先做简单明显的事情，会让事情变得更容易。这样你很可能会做对它们，并且它们会帮助你对更难捉摸的形状和颜色做出正确的判断。抵制先做困难部分的冲动。（那些模糊的灰色和边缘不清晰的模糊形状。）在我年少轻狂的时候，有一段时间我把一切都搞反了！我认为应该先解决困难的事情，这样我就可以放松享受简单的事情。听起来很熟悉，对吧？（有点像主菜后的甜点-在严肃滋养的部分之后的小小奖励。）
It took a few years of experience away from school, on my own out in the real world, before it dawned on me to use the easy things to get the hard things - to use what is easily known to find what is unknown - the same beautiful idea that works so well in logic and mathematics. This idea should work for you too. Select something easy to see in your subject - a straight line, a bright color, any large value mass, something you can't miss-and paint it first! You are bound to get those things right, and you will be on track immediately. Painting from one correct thing to another gives you a powerful control over the process. 在离开学校几年，独自在现实世界中经历之后，我才意识到利用简单的事物来解决困难的事情 - 利用已知的事物来发现未知的事物 - 这个美妙的想法在逻辑和数学中运作得如此出色。这个想法对你也适用。在你的主题中选择一些容易看到的东西 - 一条直线，一个鲜艳的颜色，任何大量值，一些你不会错过的东西 - 并首先将其绘制出来！你肯定会做对这些事情，你会立即上轨道。从一个正确的事物绘制到另一个正确的事物，让你对整个过程有强大的控制。
With correct things on your canvas, mistakes show up clearly because they stick out conspicuously amid the accurate work. You can easily see then where to make corrections, and the "right" stuff already in your picture will tell you how to fix them. Without correct work on your canvas, you can never determine if what you are putting down is right or wrong because there is nothing accurately painted to compare it to. The momentum of this kind of painting is a remarkable experience, and it is within the reach of anyone with the patience to always be very, very careful, and measure everything twice. 在你的画布上放置正确的东西，错误会清晰地显现出来，因为它们在准确的作品中显得格外突出。你可以很容易地看到需要进行修正的地方，而画中已经存在的“正确”元素会告诉你如何修正它们。如果画布上没有正确的作品，你就无法确定你所绘制的是对还是错，因为没有准确的绘制内容可供比较。这种绘画的动力是一种非凡的体验，任何有耐心时刻保持非常、非常仔细并且一切都要量好的人都可以做到。
ZORRO oil on canvas, ZORRO 油彩画，
Zorro began as a series of idle pencil sketches from life. He is an old cat now, set in his ways and pretty much focused on his meals and general comfort. He has no religion, politics, hobbies, money, opinions, or philosophy of life. He used to like the usual cat stuff such as stalking birds and squirrels, but aside from an occasional elderly or lame mouse, his lack of successes has drained his interest. 佐罗最初只是一系列生活中的随意铅笔素描。他现在是一只老猫，固执己见，主要关注自己的饭食和舒适。他没有宗教、政治、爱好、金钱、观点或人生哲学。他过去喜欢普通猫咪的事情，比如追逐鸟类和松鼠，但除了偶尔追到一只老弱的老鼠外，他的失败让他失去了兴趣。
Ninety percent of this painting was done as a transparent rendering as described on page 88 of the painting MAVOURNEEN. Zorro himself and the cushions behind him are almost the only completely opaque parts of the work. The transparent areas owe much of their authentic fabric look to the fact that I was able to bring out the linen texture of my canvas by applying my colors darkly, and then rubbing away the excess paint. 这幅画的 90%是按照《MAVOURNEEN》画册第 88 页描述的透明渲染完成的。左罗本人和他身后的垫子几乎是作品中唯一完全不透明的部分。透明区域之所以看起来像真实的织物，很大程度上归功于我能够通过深色涂抹颜料，然后擦掉多余的油漆来展现画布的亚麻质地。
GREENWICH VILLAGE oil on canvas, th Ave. and 8th St., Manhattan, 2010 格林尼治村 布面油画， 大道和第 8 街，曼哈顿，2010 年
For this painting I was obviously not standing in the middle of the right-hand lane of 6th Avenue in Manhattan's Greenwich Village with taxi cabs and huge trucks missing me by inches as I calmly focused on the problems of perspective. In fact, I dashed gingerly and very quickly in between platoons of racing vehicles to snap a digital shot or two. Fortunately, I have set up many times to paint various locations in Greenwich Village from life so I was more than familiar with the characteristics of my favorite part of the city. 对于这幅画，显然我并不是站在曼哈顿格林威治村第六大道右车道的中间，出租车和巨型卡车在几英寸之外擦肩而过，我却平静地专注于透视问题。事实上，我小心翼翼地迅速穿过一队队飞驰的车辆，拍下了一两张数码照片。幸运的是，我曾多次在格林威治村的各个地点现场作画，所以我对我最喜爱的城市部分的特点非常熟悉。
Here the main concern in drawing is the perspective aspect of the scene. As Nancy invariably points out to me, perspective may be pure geometry, but it can also be Art. She is right of course, especially in an area of the city as old as Manhattan. There are the usual perspective requisites here-the horizon line (at a level just above the roofs of the cars), and the main vanishing point for 6th Avenue (located in the most distant traffic lights, to the left of the black car). Along with these necessities, I made slight but deliberate deviations from the horizontal and vertical lines to give this sketch the authentic look of seasoned maturity I was aiming at. 在这里，绘画的主要关注点是场景的透视方面。正如南希总是向我指出的那样，透视可能是纯几何，但它也可以是艺术。她当然是对的，尤其是在曼哈顿这样一个古老的城市区域。这里有通常的透视要素-地平线（位于汽车车顶正上方的水平线），以及第六大道的主消失点（位于最远处的交通灯，在黑色汽车的左侧）。除了这些必要性，我还故意对水平和垂直线进行了轻微但有意的偏离，以使这幅草图看起来更具有我所追求的经验丰富的成熟感。
If I had created and followed geometrically perfect perspective lines, the painting would have looked like any other boring architectural rendering. Smooth streets and straight sidewalks make for easy driving and walking, but it is the street bumps and patches, and cracks in sidewalks that make them interesting, and speak of the life of the city. I always like my painting to extend the viewer's gaze beyond what is on my canvas to that which is not, but which nevertheless is the overwhelming fact about any city-its people. 如果我创造并遵循几何完美的透视线，这幅画看起来就会像任何其他乏味的建筑渲染一样。平滑的街道和笔直的人行道方便驾驶和步行，但是街道上的颠簸、补丁和人行道上的裂缝才使它们变得有趣，并反映了城市的生活。我总是希望我的画作能够延伸观者的目光，超越我的画布所呈现的内容，去观察那些并非画出来却是关于任何城市的压倒性事实的东西——城市的人们。
THE ELEMENTS OF DRAWING 绘画的要素
So far, most of what I have been describing in this chapter has been about developing an ability to see the visible world in a certain way so it may be understood and painted convincingly. There are several other standard components of drawing I need to briefly mention here. 到目前为止，在本章中我描述的大部分内容都是关于培养以某种方式看待可见世界的能力，以便能够理解并逼真地绘画出来。还有几个绘画的标准组成部分我需要在这里简要提一下。
Usually referred to as The Elements of Drawing (including Human Anatomy and figure drawing), they are ordinarily taught as fundamental subjects in traditional (serious) art school and in an increasing number of private classes. I can't explore the various elements in detail here because they are fairly deep studies in themselves, requiring more attention and space than I can provide in this volume. There are, however, some excellent books available which explore the subjects far better than I can here. I do make mention of some of my favorites in the paragraphs below. All of the books related to my comments in the following paragraphs are listed in the Recommend Reading section at the end of this book, and all are well-worn references in my personal library. I hope they will be part of yours too. 通常被称为《素描要素》（包括人体解剖和人物素描），它们通常作为传统（严肃）艺术学校和越来越多的私人课程中的基础科目来教授。我无法在这里详细探讨各种要素，因为它们本身是相当深入的研究，需要比我在本书中提供的更多关注和空间。然而，有一些优秀的书籍可以更好地探讨这些主题，远胜于我在这里所能做到的。在下面的段落中，我提到了一些我喜欢的书籍。在本书末尾的推荐阅读部分列出了与我评论相关的所有书籍，它们都是我个人图书馆中备受翻阅的参考书。希望它们也能成为你的一部分。
HUMAN FORM AND ANATOMY 人体形态与解剖
As I pointed out in Chapter Two, experienced artists who paint the human figure know how valuable it is to understand what the curves and bumps on a model are, and how much such information helps in their work. From a practical standpoint, reliance on a good "eye" alone is clearly not enough when painting people, especially if they have trouble staying in position, or for some reason you have to make changes. A basic understanding of human anatomy and typical proportions is therefore crucial to both nude figure painting and when the subject is fully clothed. 正如我在第二章中指出的那样，有经验的绘画人物的艺术家知道理解模特身上的曲线和凸起是多么宝贵，以及这些信息在他们的工作中有多么有帮助。从实际角度来看，仅仅依靠良好的“眼力”显然不足以绘画人物，特别是如果他们难以保持姿势，或者由于某种原因你不得不进行更改。因此，对人体解剖学和典型比例的基本理解对于裸体人物绘画和主题穿着全套衣服时都至关重要。
In the latter case it is essential to know basic human form and proportions if your rendering of clothing is to be convincing. Along those same lines, it is also a very good idea to have an understanding of the Laws of Folds to make sure you are doing madam's expensive designer dress correctly. My constant companion in life class back in the late 1950s was my copy of the Atlas of Human Anatomy for the Artist by Stephen Rogers Peck. I mention it here because Peck's book, with his many superb interpretive drawings, plus the figure drawing sections in the Famous Artists Course, which I studied zealously as a teenager, formed the foundation of my understanding when I worked from a live model at the Academy. 在后一种情况下，如果您希望您绘制的服装看起来令人信服，那么了解基本的人体形态和比例是至关重要的。沿着同样的思路，了解褶皱的规律也是一个非常好的主意，以确保您正确地绘制女士昂贵的设计师服装。在 20 世纪 50 年代末的生活课堂中，我的不断伴侣是史蒂芬·罗杰斯·佩克（Stephen Rogers Peck）的《艺术家人体解剖图谱》。我在这里提到它，因为佩克的书，以及他众多出色的解释性绘画，再加上我作为青少年刻苦学习的《著名艺术家课程》中的人物素描部分，构成了我在学院从真人模特身上工作时的理解基础。
PERSPECTIVE 透视
I'll say it again: there is no good substitute for sound drawing when working from life. There are, however, items of knowledge which will complement your efforts the same way a basic knowledge of anatomy works with figure painting. For the artist who does landscapes, interiors, or still life with geometrically shaped objects, basic perspective is a must. There are two kinds of perspective: Linear perspective and Aerial perspective. Both deal with how things change appearance with distance and point of view. Linear perspective is about how they change shape. Aerial perspective explains the color and value changes caused by atmospheric conditions in a landscape as distance from a viewer increases (I deal with this in Chapter Seven on Color). 我再说一遍：在现场作画时，没有比扎实的素描更好的替代品。然而，有些知识可以辅助你的努力，就像对人体解剖的基本了解对人物画作品有帮助一样。对于从事风景、室内或静物绘画的艺术家来说，基本透视是必不可少的。透视有两种类型：线性透视和大气透视。两者都涉及事物随着距离和视角的变化而产生的外观变化。线性透视是关于事物如何改变形状的。大气透视解释了景观中由于距观者距离增加而引起的大气条件造成的颜色和价值变化（我在第七章关于色彩中讨论了这个问题）。
GENERAL ASPECTS OF DRAWING 绘画的一般方面
There are other components in drawing which are just good common sense requisites: Basic Forms (natural and man made), Balance, Unity, Clarity, Simplification, Managing detail, Emphasis, the Design of empty space (often called negative space), and Anomalies and Oddities. This last item will help you spot weird clouds shaped like Donald Duck, or posing a model so it looks like a tree branch is going into one of her ears and out the other. All of the items above are explored and explained in the chapters ahead. They are also covered in many of the books listed in the Recommended Reading section in this book. 在绘画中还有其他组成部分，这些只是良好常识的必备条件：基本形式（自然和人造）、平衡、统一、清晰、简化、处理细节、重点、空白空间的设计（通常称为负空间）以及异常和奇特之处。最后一项将帮助您发现奇怪的云朵形状像唐老鸭，或者摆姿势使模特看起来像一根树枝从一只耳朵进入另一只耳朵。以上所有项目将在接下来的章节中进行探讨和解释。它们也在本书的推荐阅读部分列出的许多书籍中有所涵盖。
PROPORTIONS 比例
Knowing proportions is of course indispensable when painting or drawing anything other than life size. However, it is just as important when working at exactly life size. For example: 当绘制或绘画非实际尺寸的任何物体时，了解比例当然是必不可少的。然而，当以实际尺寸工作时，同样重要。例如：
Do you know how big your hand is compared to your foot, or your face? 你知道你的手相对于你的脚或脸有多大吗？
Do you know the midpoint on your body? 你知道你身体的中点在哪里吗？
Did you know your elbows are on a line with your bellybutton? 你知道你的肘部与肚脐在同一条线上吗？
How tall are you compared to your front door? 你和你家门相比有多高？
How high is your car compared to you? 你的车比你高多少？
How long is your little finger compared to your thumb? 你的小指和拇指相比有多长？
I'm sure you get the point-it is knowing basic proportions and training yourself to see them in whatever you look at, is a great shortcut, not just in painting people, but with all else too. It means you don't have to figure everything out from scratch each time you set out to do a picture. 我相信你明白要点——了解基本比例并训练自己在看到任何事物时都能看到它们，这是一个很好的捷径，不仅适用于绘画人物，也适用于其他所有事物。这意味着你不必每次开始画画时都从头开始推敲一切。
ALIGNMENT 对齐
This is the other big item to add to your skills. It is not a lot of do's and don'ts to memorize. Rather it is simply a discipline or habit which helps you to make very sure everything that needs to be lined up properly is indeed lined up. For example, let's say you're doing a portrait. The sitter is a pretty lady clutching a yappy Chihuahua. Both are facing you straight on. It just won't do to have her nose (the lady's) lined up one way, and her mouth and eyes in two other different ways. You must have, as they say, all your ducks in a row (or milady's nose). Fortunately, I can blame my age and poor eyesight when I mess up. 这是另一个需要添加到你技能中的重要项目。这并不是要记住很多要做和不要做的事情。相反，这只是一种纪律或习惯，帮助你确保所有需要正确对齐的东西确实被正确对齐。例如，假设你正在画一幅肖像。坐着的是一个抱着一只吵闹的吉娃娃的漂亮女士。两者都直面着你。如果她的鼻子（女士的）朝向一边，而她的嘴和眼睛朝向另外两个不同的方向，那就不行。你必须像他们说的那样，让所有事情井然有序（或者说是女士的鼻子）。幸运的是，当我搞砸时，我可以归咎于我的年龄和视力不好。
They say point of view is everything. Well, almost everything, and that includes the following nifty items: Two other requisites for me in checking for drawing accuracy are stepping back constantly to see my entire canvas and my subject together, and using a mirror to see everything in reverse. See page 144 for much more on the importance of these habits. 他们说观点至关重要。嗯，几乎是一切，这包括以下巧妙的项目：在检查绘画准确性时，对我来说另外两个必备条件是不断后退，看整个画布和主题一起，以及使用镜子看到所有事物的反面。更多关于这些习惯的重要性，请参阅第 144 页。
There is one ever true gem of advice regarding drawing I wish to close this chapter with. It is best expressed in the story of a young man of twenty-two years from Kansas who aspired to be a musician. One day he made a very big decision, and so with violin case in hand, traveled to New York to seek out the great teachers. Arriving in the Big Apple, however, he found himself hopelessly lost in midtown Manhattan. Fearless lad that he was, he approached an elderly man he reckoned was a real New Yorker and politely asked, "Sir, can you please tell me how to get to Carnegie Hall?" 有一条关于绘画的至理名言，我希望用它来结束这一章节。最好通过堪萨斯州一个 22 岁年轻人的故事来表达。他渴望成为一名音乐家。有一天，他做出了一个非常重要的决定，于是带着小提琴盒前往纽约寻找伟大的老师。然而，当他抵达大苹果时，发现自己在曼哈顿中城迷失了方向。他是一个无畏的年轻人，他走向一个他认为是地道纽约人的老人，礼貌地问道：“先生，请问怎样才能到卡内基音乐厅？”
_Without batting an eye, the old guy said, "Practice son, practice!" 老人毫不犹豫地说道：“练习，孩子，练习！”
SUMMING UP DRAWING 总结素描
Drawing well has always been essential to humanity. Every material thing mankind makes, from underwear and socks, and cell phones, to the great Pyramids, and space stations, require pictures of those things before they can become real. Drawing is a lot like speaking or writing. Unless we are impaired, most of us can acquire language, but nothing we say will matter if we do not speak or write so others can understand. 画得好一直对人类至关重要。人类制造的每件物品，从内衣和袜子，手机，到金字塔和空间站，都需要在它们变得真实之前有这些东西的图片。画画很像说话或写作。除非我们受到损伤，大多数人都可以学会语言，但如果我们不说话或写作让别人理解，我们说的话就毫无意义。
Though the impulse to draw is natural and universal, the skill of drawing expertly is not a divine endowment or inherited. It must be learned, even if it means self-teaching. It helps a great deal if you love to draw. 尽管绘画的冲动是自然和普遍的，但精湛绘画技巧并非神赐或天赋。它必须学习，即使这意味着自学。如果你喜欢绘画，那将大有裨益。
When I use the word "drawing" in the context of painting, I mean the size, shape, and arrangement of all the patches of color which collectively make things look the way they do (and which also constitute a painting). When I render those patches the right size, the right shape, and fit them together with their distinctive edges and colors, my painting will look like my subject. If I fail to do that, it will look different. 当我在绘画的语境中使用“绘画”一词时，我指的是所有颜色块的大小、形状和排列方式，这些颜色块共同使事物看起来如此（也构成一幅画）。当我按照正确的大小、正确的形状呈现这些颜色块，并将它们与其独特的边缘和颜色组合在一起时，我的绘画将看起来像我的主题。如果我未能做到这一点，它将看起来不同。
Drawing is a mental discipline - a state of mind requiring heightened visual perception, observational skill, and analytic ability. (I know you have those for the things you enjoy.) You might say drawing is perpetual learning, because it deals with continual variables rather than a body of memorized data like law or medicine or chemistry. 绘画是一种精神修养 - 一种需要提高视觉感知、观察技巧和分析能力的心境。（我知道你对喜欢的事物具备这些能力。）你可以说绘画是永恒的学习，因为它处理的是持续变量，而不是像法律、医学或化学那样的记忆数据体。
No matter how good or experienced you get, you must practice drawing regularly to sustain and perfect it, the same way serious musicians must do. 无论你变得多么优秀或有经验，你都必须定期练习绘画以保持并完善它，就像认真的音乐家必须做的那样。
When it comes to working from life, there is nothing theoretical about drawing. It really comes down to little more than figuring out the width and height of color shapes, and then fitting them together one at a time, but it's never quite the same from one time to the next. 谈到从生活中工作时，绘画并非理论性的。它实际上只不过是弄清楚色块的宽度和高度，然后一次又一次地将它们拼凑在一起，但每一次都不完全相同。
How do I get my shapes right? I choose one which is easy to identify, one I can use as a yardstick, so to speak, to compare others to so I can't miss. 我如何确保我的形状正确？我选择一个容易识别的形状，一个可以作为标准的形状，这样我就可以拿来与其他形状进行比较，以便不会出错。
Which shapes are easy to identify? The obvious ones. Which ones are obvious? Shapes that have a clear geometry. By clear geometry I mean squares, rectangles, triangles, anything with straight lines or clean edges such as circles or ovals. 哪些形状容易识别？显而易见的那些。哪些是显而易见的？具有明确几何形状的形状。所谓明确的几何形状是指正方形、长方形、三角形，或者任何具有直线或清晰边缘的形状，比如圆形或椭圆形。
A "trick" in measuring shapes and intervals is to select a typical shape, feature, or object in or on a subject as a unit of measure. In doing a head, for example, I use the width of an eye, or the distance between corners of the mouth, or the width of the nose, as my units. A common unit is the head, for example, the average person is between and heads high. 在测量形状和间距时的“技巧”是选择主体内或上的典型形状、特征或物体作为测量单位。例如，在画头部时，我会以眼睛的宽度、嘴角之间的距离或鼻子的宽度作为单位。一个常见的单位是头部，例如，普通人的身高约为 到 个头高。
Try not to exaggerate curves. Show them as a series of straight lines which change direction at points along the curve. It looks stronger that way. 尽量不要夸大曲线。将它们展示为一系列在曲线上的点处改变方向的直线。这样看起来更有力量。
Pick up some of the books on drawing listed in the Recommend Reading section. Learn basic anatomy and figure drawing. Get into a life class if you can. Study the simple principles of perspective; available in many books and on the Internet. 挑选推荐阅读部分列出的一些绘画书籍。学习基本解剖学和人物素描。如果可能的话，参加人体写生课程。学习简单的透视原理；这些原理可以在许多书籍和互联网上找到。
Study drawings and paintings of the Masters you really like, and figure out why you like them. Don't "like" a work just because some art expert with a degree says you should. 研究你真正喜欢的大师的素描和绘画作品，并弄清楚你为什么喜欢它们。不要仅仅因为某位拥有学位的艺术专家说你应该喜欢某件作品而去“喜欢”它。
Step back as much as possible as you work so you can see your picture and subject together. You will then be able to make judgments about accuracy which can (and usually do) go unnoticed when working close to your painting. 尽量后退一些，这样你就能看到画面和主题在一起。然后你就能够对准确性做出判断，这些判断在靠近画作时往往会被忽视。
Practice-Practice-Practice! 练习-练习-练习！
CHAPTER FIVE-VALUES 第五章-价值观
WHAT ARE VALUES? 价值观是什么？
The term Values refers to the range of lightness and darkness within a subject. It also refers to the light and dark tones from white to black in a painting. Titanium White pigment is as light as we can attain in a picture; Ivory Black or its equivalent mixture is the darkest. 价值这个术语指的是主题中的明暗范围。它还指的是绘画中从白色到黑色的明暗色调。钛白颜料是我们在画中能达到的最浅的颜色；象牙黑或其等效混合物是最暗的。
I work with a traditional Flemish value scale for my paintings. It is a grouping of nine tones from pure white to black. The first four values are considered the light values. The last four are the dark values. The one in the middle is the middle-tone. (What else?) This division of the scale into nine increments is practical because more than that seems cumbersome, and less is not quite enough. Value scales for printers, decorators, and industrial use (such as the Munsell color system), use a much greater number of values, but the progressive value differences within them are so slight it usually requires technical aids to detect them. In any case, no matter how many slices are created, the range is still from white to black. 我在绘画中使用传统的佛兰芒价值尺度。它是由纯白到黑色的九个色调组成。前四个色调被视为浅色调。后四个是暗色调。中间的那个是中间色调。（还有什么？）将这个尺度分成九个增量是实用的，因为超过这个数量会显得笨重，而少于这个数量则不够。用于印刷、装饰和工业用途（如蒙赛尔色彩系统）的价值尺度使用更多的色调，但它们之间的渐进价值差异如此微小，通常需要技术辅助才能检测到。无论如何，无论划分多少个部分，范围仍然是从白色到黑色。
Please note: I use the words tone or tones, or sometimes halftones interchangeably with the word values throughout this text as in: the values in the sky are lighter tones than the trees, but the leaves are halftones. Also, I often refer to very light and very dark values as the light and dark accents (of any color) in a painting. 请注意：在本文中，我将“色调”或“色调”，有时与“值”互换使用，例如：天空中的值比树木中的值更轻，但树叶是半色调。此外，我经常将非常浅和非常深的值称为绘画中的浅色和深色重点（任何颜色）。
Below is my version of the traditional value scale in nine segments. I also include a scale with eighteen values because it is probably closer to the actual number of tones in an average full-value painting when blending of color shapes is taken into account. 以下是我对传统价值刻度的九段版本。我还包括一个包含十八个值的刻度，因为这可能更接近实际色调数量，考虑到颜色形状的混合在一幅完整价值的绘画中。
THE FOUR LIGHT VALUES 四个光值
MIDDLE-TONE 中音
THE FOUR DARK VALUES 四个暗色值
THE TRADE-OFF 权衡
Compared to the many values in nature our nine aren't much, but they are all we have to work with, so we must use them thoughtfully. (I discuss the Conservation of Values in detail a little further along in this chapter.) Because we have only a few values to work with compared to the vast range of possible color mixtures, we must often settle for capturing the effect of light rather than drive ourselves bonkers trying to capture mother nature's actual blinding sunlight or stygian blackness. 与自然界中众多的价值相比，我们的九个价值并不多，但它们是我们唯一能够利用的，因此我们必须谨慎使用它们。（我将在本章稍后详细讨论价值的保护。）由于与可能的广泛色彩混合相比，我们只有少数几个价值可供使用，因此我们经常只能捕捉光线的效果，而不是让自己为了捕捉大自然实际的刺眼阳光或黑暗无底的深渊而发狂。
My teacher straightened me out early on about values with jokes about how one day while Van Gogh was out landscape painting he got angry because he couldn't paint the sun as bright as it was. So he cut off his ear (yuck!) and then shot himself in the head out of sheer frustration. The tale wasn't exactly true, but it certainly got my attention. I like having both of my ears. 我的老师早早就用关于价值观的笑话纠正了我，比如有一天梵高在户外写生时，因为画不出太阳的明亮而生气。于是他割掉了自己的耳朵（呸！），然后出于极度沮丧的原因开枪自杀。这个故事并不完全属实，但确实引起了我的注意。我喜欢保留我的两只耳朵。
CONTRAST 对比
Contrast is the difference in lightness and darkness among things. Without it we might as well be blind. Contrast is the main light condition which permits us to see. If there were no such thing as contrast, the world would be as invisible to us as a white rabbit in fresh snow. Whether it's writing your name or painting a picture, it is the only way I know of to depict anything on a two dimensional surface. The degree of contrast within a painting determines how intense or faint the portrayal of light will be. Other influences of light on visibility involve (to a lesser degree) color family and light temperature. See Chapter Seven on Color and Light.) 对比是事物之间明暗的差异。没有对比，我们可能就像盲人一样。对比是让我们看清事物的主要光线条件。如果没有对比这回事，世界对我们来说就像白兔在新雪中一样看不见。无论是写你的名字还是绘画，这是我知道的在二维表面上描绘任何事物的唯一方法。画作中的对比程度决定了光线描绘的强烈程度或淡薄程度。光线对能见度的其他影响包括（程度较小的）颜色系列和光线温度。请参阅第七章关于色彩和光线。
OUR SUN, THE SOURCE OF EVERYTHING (Including us.) 我们的太阳，一切的源泉（包括我们在内）。
Prior to the 19th century we rarely see paintings even come close to depicting sunlight successfully. All of that ended in the early 1800s when painters left the subdued light of their studios in droves to work out of doors and seriously explore sunlight. Before the century ended, outdoor painting was firmly established not only with the Impressionists, but also among painters not usually identified with them. Joaquín Sorolla, for example, and a few others like him probably captured its effects better than anyone because they understood a key fact-that despite its often blinding brightness, and the usual light reflecting into them, bright clear sunlight always produces shadows and warm dark accents of strong contrast. 19 世纪之前，我们很少看到绘画成功地描绘出阳光。一切在 19 世纪初结束了，当时画家们纷纷离开他们工作室中柔和的光线，到户外工作，认真探索阳光。在世纪结束之前，户外绘画不仅在印象派画家中得到了牢固确立，也在通常不被他们所认可的画家中得到了确认。例如，像华金·索罗拉（Joaquín Sorolla）这样的画家，以及其他一些像他一样的画家，可能比任何人都更好地捕捉到了它的效果，因为他们理解了一个关键事实——尽管阳光常常刺眼耀眼，而且通常的光线会反射到他们身上，但明亮清晰的阳光总是会产生阴影和温暖的深色强烈对比的点缀。
Not everyone appreciated this very important bit of information. For example, one of the main problems the French Impressionists faced in getting more vibrant colors was that pigments are simply less colorful as they get darker. One of their favorite solutions was to lighten the values of the dark areas in their paintings, particularly the shadows, to get better color. However, that was not always successful, because while it did enhance the colors, it reduced the natural contrast provided by the shadows, which is the opposite of what normally happens in strong sunlight. Nevertheless, many high-key Impressionistic paintings lacking strong shadows still look bright and sunny when seen in galleries or museums. This is due perhaps to their contrast with the dark paintings in the rest of the museum galleries. In fairness it must be remembered that the Impressionists were creating impressions, not literal renderings. What they achieved was to the world of art what going to the moon was for science and technology. 并非每个人都欣赏这一非常重要的信息。例如，法国印象派画家在追求更加生动的色彩时面临的主要问题之一是，随着颜料变暗，颜色变得不那么丰富。他们最喜欢的解决方案之一是提亮绘画中的暗部数值，特别是阴影部分，以获得更好的色彩。然而，这并不总是成功的，因为虽然它确实增强了色彩，但减少了阴影所提供的自然对比，这与在强烈阳光下通常发生的情况相反。尽管如此，许多高调印象派绘画缺乏强烈的阴影，但在画廊或博物馆中观看时仍然看起来明亮而阳光明媚。这可能是因为它们与博物馆其他画廊中的深色绘画形成了对比。公平地说，必须记住印象派画家创造的是印象，而不是文字的再现。他们所取得的成就对艺术界来说就像登月对科学技术领域一样。
One more reason why the sun produces strong shadows is that its brightness causes the pupils of our eyes to contract, which reduces the amount of light reaching our retinas. That in turn causes us to see fewer values and colors in the mid-tones and the darker range in the shadows. This is why colors are most colorful and values more subtle in high quality light, the kind you see on a day of moderate overcast. Tempered light such as overcast allows our pupils to widen and let in more information. Therefore, contrary to popular belief, we see fewer colors in bright sunlight, and much more in softer cooler light. 太阳产生强烈阴影的另一个原因是它的明亮度导致我们眼睛的瞳孔收缩，从而减少到达视网膜的光线量。这反过来导致我们在中间色调和阴影中看到的价值和颜色更少。这就是为什么在高质量光线下，如在一个适度多云的日子里，颜色最丰富，价值更加微妙。多云的温和光线使我们的瞳孔扩大，接收更多信息。因此，与流行观念相反，我们在明亮阳光下看到的颜色更少，而在柔和凉爽的光线下看到的则更多。
In gradually dimming light, such as when light is slowly fading in the evening or on a late winter afternoon, our ability to see the differences between dark values and colors diminishes as the light gets weaker. This can be a fooler, because as the dark areas in our subject and on our painting slowly get harder to discern, we can still see the lighter colors and values fairly well, and so may not be aware that all of the darks are starting to look the same. 在逐渐变暗的光线下，比如傍晚光线逐渐减弱或在深冬午后，随着光线变弱，我们看到暗色值和颜色之间的差异的能力也在减弱。这可能会让人产生误解，因为随着主体和画作中的暗区域变得难以辨认，我们仍然可以很好地看到较浅的颜色和色值，因此可能没有意识到所有的暗色值开始变得相似。
CAPTAIN JOHN'S HOUSE oil on canvas, 11 x 10, Putney, Vermont, 2007 约翰船长的房子 油画 布面 11 x 10 英寸 佛蒙特州普特尼 2007 年
DARKNESS 黑暗
The Chiaroscuro painters of the late Italian Renaissance went the other way-increasing the contrast in their works. Many of the Dutch painters went even further in their portraits, often painting backgrounds and everything else but the sitter completely black. In much of their art, black constitutes the majority area. To be fair, black backgrounds were probably just fashionable in their time, and still today when a background actually is very dark it's not a bad way to represent empty space. However, when they are rendered as an unrelieved colorless black, I find them boring, and in my opinion a bit of a cop out, particularly when used habitually. There is also a problem with glare in viewing and lighting such canvases, plus a loss of the "emptiness" effect when dust and grime gets on the canvas surface. Some black pigments tend to crack a lot too. So dear friend, I'm not a big fan of vacant blackness. It reminds me too much of death. Besides, I can achieve blackness anytime just by closing my eyes. 意大利文艺复兴晚期的明暗对比画家走了另一条路-增加了作品中的对比度。许多荷兰画家在肖像画中走得更远，经常将背景和除了被摄者之外的一切都涂成完全黑色。在他们的许多艺术作品中，黑色构成了大部分区域。公平地说，黑色背景可能只是在他们的时代很时尚，即使在今天，当背景实际上非常黑暗时，这也是一种不错的表现空间的方式。然而，当它们被呈现为一种毫无变化的无色黑色时，我觉得它们很无聊，而且在我看来，有点投机取巧，特别是习惯性地使用时。在观看和照明这样的画布时，还存在眩光问题，而且当灰尘和污垢附着在画布表面时，会丧失“空旷”效果。一些黑色颜料也很容易开裂。所以亲爱的朋友，我不是黑暗空无的忠实粉丝。它让我太多地想起死亡。此外，我随时可以通过闭上眼睛来实现黑暗。
The use of vacant darkness can also be a tempting way to obscure things which may be difficult to paint. Even Rembrandt was said to have remarked that his biggest challenge was painting emptiness. Indeed it was and still is, especially if the emptiness we are dealing with happens to be a shadow. We know today to achieve authentic color it is vital to understand the principles of light temperature and color temperature. Alas, a look at the paintings done in the 16 th and 17 th centuries shows the concept of light and color temperature was not yet very clear. I suspect more than a few great Masters had some awkward moments with the subtle colors within shadows, which may be why so many resorted to the device of blackness, perhaps as a way out. 利用空无的黑暗也可以是一种诱人的方式，用来掩盖那些可能难以绘制的事物。甚至据说伦勃朗曾经说过，他最大的挑战是绘制空无。确实是这样，尤其是当我们所面对的空无恰好是阴影时。我们今天知道，要实现真实的色彩，理解光温度和色温的原则至关重要。然而，观察 16 和 17 世纪的绘画作品，可以看出光和色温的概念还不是很清晰。我怀疑许多伟大的大师在处理阴影中微妙的颜色时可能会遇到一些尴尬的时刻，这也许是为什么那么多人求助于黑暗这种手法的原因。
Well, we undoubtedly have a lot to learn too. I think of us, of you and I, living in a time when many (not you and I) think of the Art world as a sort of free-for-all, where anyone of any level of mental stability, at the slightest whim and for any reason, can jump in and call himself an artist. We sometimes fail to remember how extremely important high skill, craftsmanship, and passionate dedication were to painters of earlier times. Those attributes were far more than just admirable qualities. Art was a noble vocation and a way of life. Their skills were assumed to be divinely infused. Being an artist was their very identity, their reason for existing. 嗯，毫无疑问，我们也有很多东西要学习。我想到我们，你和我，生活在一个许多人（不包括你和我）认为艺术世界是一种自由竞争的时代，任何人，无论精神稳定水平如何，都可以随心所欲，出于任何原因，跳进来称自己为艺术家。我们有时会忘记早期画家极其重要的高超技艺、工艺和热情奉献。这些品质远不止是令人钦佩的特质。艺术是一种高尚的职业和生活方式。人们认为他们的技能是神赋予的。成为艺术家是他们的身份，他们存在的理由。
To say the least, they were doing their best. And because they painted with such amazing beauty and skill, who could dare to criticize them about things we are fortunate to know in our time, but were not known to them in their day. At any rate, blackness still remains a fashionable and popular haven today, even though the blackness we normally encounter in everyday life really isn't black anyway; it is just a lot of dark colors-but colors nonetheless-and quite beautiful. Therefore, when you see what looks like black in your subject, give it a little jolt. Paint it with mixtures of Alizarin Crimson, Ultramarine Blue, and Transparent Oxide Red (or other similar pigments). If you are too attached to your black, at least mix a dark red, or blue, or brown, or green, or purple, into it so it has a family identity. We all need a family. 说实话，他们尽力了。因为他们用如此惊人的美感和技巧绘画，谁敢批评他们关于我们这个时代幸运知道的事情，但在他们那个时代却不为人知。无论如何，黑色如今仍然是一个时尚且受欢迎的避风港，即使我们在日常生活中通常遇到的黑色实际上并不是真正的黑色；它只是许多深色-但仍然是颜色-而且相当美丽。因此，当你看到主题中看起来像黑色的部分时，给它一点冲击。用茜素洋红、群青蓝和透明氧化红（或其他类似颜料）的混合物来绘制它。如果你太依恋你的黑色，至少混合一些深红、蓝色、棕色、绿色或紫色进去，这样它就有了一个家族身份。我们都需要一个家族。
DAZZLE 眩目
Even though we cannot paint with light the way nature does, nor the way television, computer monitors, and other electronic toys such as cell phones do, we can still achieve astonishing simulations of light and emotional atmosphere mood by the resourceful choice and formation of values. Nature's complex of lights and darks await us like instruments in a great orchestra. We are free to use them in any fashion we choose. The way to use them most effectively is to have a clear vision of what we seek in a painting. 尽管我们无法像大自然那样用光线绘画，也无法像电视、电脑显示器和其他电子玩具（如手机）那样绘画，但通过巧妙选择和价值形成，我们仍然可以实现惊人的光线模拟和情感氛围。大自然的明暗复杂就像交响乐团中的乐器等待着我们。我们可以自由地以任何方式使用它们。最有效地使用它们的方法是清晰地了解我们在绘画中追求的目标。
Values can be manipulated in several interesting ways. One familiar example concerns the value key of a picture: by working within only a limited portion of the value scale in the overall majority area of a painting, various subtleties of atmosphere or emotion can be created. This is known as working in a value key. To illustrate: A picture which uses mostly the four lighter values of the value scale, is considered a high-key painting. One which uses mostly the four darker tones of the scale, is described as low-keyed. 价值观可以以几种有趣的方式进行操纵。一个熟悉的例子涉及图片的价值键：通过仅在绘画的整体大部分区域内工作于价值范围的有限部分，可以创造出各种氛围或情感的微妙之处。这被称为在一个价值键中工作。举例说明：一个主要使用价值范围中的四个较轻价值的图片被认为是高调绘画。一个主要使用价值范围中的四个较暗色调的图片被描述为低调。
Often the key can be delightfully interrupted somewhere in the painting with a value above or below a key as an attention getting device. A pure white or sudden bright color injected into a low-key painting is a familiar example, as is a dark accent in one or more places in a high-key work. One caution however-when you are creating a painting in a value key, have fun, but try not to go overboard with these little "eye-catchers." There is a very thin line between a perfect note of emphasis and vulgarity. 通常，关键点可以在绘画中愉快地被打断，以高于或低于关键值的价值作为引人注目的装置。在低调绘画中注入纯白色或突然明亮的颜色是一个常见的例子，就像在高调作品中的一个或多个地方加入深色强调一样。然而要注意一点-当您在一个价值关键中创作绘画时，尽情享受，但不要在这些小的“眼球吸引者”上过火。在强调的完美音符和庸俗之间有一条非常微弱的界线。
TANGERINES oil on canvas, 橘子 油彩 画布
Some paintings are just plain fun to do. I began this one as an experiment in colored light by suspending a large sheet of purple cellophane above my set up. The illumination source was my big north window, so I had a well-balanced light coming though the cellophane. The result was this strong harmony, a bit theatrical I admit, but why not? My block-in began with a wash of Cobalt Violet to set the harmonic tone. The rest was like creating a shower of colors using the violet saturated tones of the Ultramarine Blue, Alizarin Crimson, Cobalt Blue, Cadmium Red, Terra Rosa, and Yellow Ochre color charts. 有些画作只是纯粹好玩。我开始这幅作品是为了尝试彩色光线，通过悬挂一大片紫色玻璃纸在我的布景上方。照明源是我那扇大北窗，所以透过玻璃纸进来的光线非常均衡。结果就是这种强烈的和谐，我承认有点戏剧性，但为什么不呢？我的底稿从涂抹钴紫色开始，以确立和谐的基调。其余的就像是用群青、茜素洋红、钴蓝、镉红、地肤红和黄土色调的紫色饱和色调创造一场色彩的淋浴。
THIS IS WHAT WE KNOW SO FAR 到目前为止，这就是我们所知道的
Contrast, as we know, is what makes things visible. We also know we can't reproduce light itself with our limited reflective pigments. But we can separate light and dark values into nine neat little jumps, and that very dark areas can still be colorful. 对比，正如我们所知，是让事物变得可见的关键。我们也知道，用有限的反射性颜料无法再现光本身。但我们可以将光明和黑暗的价值分为九个整洁的小跃点，即使非常黑暗的区域仍然可以是多彩的。
BUT WHAT ABOUT THE ACTUAL BUSINESS OF PAINTING? 但是绘画的实际业务呢？
How do I make sense of the jumble of lights and shadows and other tones in my subject? 我如何理解主题中混杂的光影和其他色调？
How can I see values in a simplified way in my subject? 我怎样能以简化的方式看到我的主题中的价值？
How do I identify values and pick out the "right" ones to use? 我如何确定价值观并挑选出要使用的“正确”价值观？
How can I paint pictures strong and simple in value? 我怎样才能用简单而强烈的色调画出画面？
Questions one and two are really the same; the second more or less answers the first-I sort out the jumble of values in a subject by seeing them in less detail and in only a few essential values. Questions three and four bring into play two other essential concepts as well-Comparison, and Conservation of Values. I have a great deal to say about both of these items in this chapter, especially the purpose and use of COMPARISON because it is critical to every judgment and decision you will make as you work. CONSERVATION OF VALUES is an idea basic to achieving a strong look in your painting, especially its design. 问题一和问题二实际上是相同的；第二个问题或多或少回答了第一个问题-我通过以较少的细节和仅有几个基本价值观来整理主题中的混乱价值观。问题三和问题四还涉及另外两个基本概念-比较和价值观的保留。在本章中，我有很多话要说关于这两个项目，尤其是比较的目的和用途，因为它对你工作中将做出的每个判断和决定至关重要。价值观的保留是实现你绘画中强烈外观的基本理念，尤其是其设计。
Q. SO, HOW CAN VALUES BE SEEN IN A CLEAR AND UNCOMPLICATED WAY?
A. BY STEPPING BACK A FEW FEET FROM YOUR CANVAS, SQUINTING DOWN AT THEM, AND COMPARING THEM TO ONE ANOTHER! 问：那么，价值观如何以清晰简单的方式展现出来呢？答：退后几步，眯起眼睛看着它们，并将它们相互比较！
THE RIGHT WAY TO SQUINT (I know this sounds funny.) 正确的眯眼方式（我知道这听起来很有趣。）
Learn this and you're home free! And, it costs nothing, because not only do you already have the instinct, you have also been using it your entire life. You do it every time the light is too bright, or when you're out zooming around the Riviera in your yellow Ferrari 458 convertible. Developing your squint reflex into a skill is probably the most valuable tool you can have in making sense of what often seems to be a bewildering jumble of details and values in a subject. Why? Because your most fundamental technical problem with painting in "getting it right" is to simplify and thus understand the relationships of values to one another in your subject. The most direct way to do it is to partly close your eyes when you look at your subject. 学会这个技巧，你就事半功倍了！而且，这不花一分钱，因为你不仅已经拥有这种本能，而且你一生都在使用它。每当光线太亮时，或者当你驾驶你的黄色法拉利 458 敞篷车在里维埃拉大道上飞驰时，你都在使用它。将你的眯眼反射发展成一种技能可能是你在理解主题中那些看似令人困惑的细节和价值的最有价值的工具。为什么？因为你在绘画中最基本的技术问题是“做对”，就是简化并理解主题中各个价值之间的关系。最直接的方法是在观察主题时部分闭上眼睛。
Try it now. Wherever you are, stop reading for a moment and glance around at your surroundings. Then start squinting down very gradually until superficial details disappear and only a few coherent shapes remain. That's all there is to it! Well, not quite all, there is lots more ahead, so please read on. What I have just described is the very easy physical part of it. I realize, of course, things just seem to get dark the first few times you try it, but with practice, you will glean valuable information. Color will tend to diminish as you close your eyes slightly, allowing you to sort out values easier. Best of all, you will be on your way to seeing in a more organized way. 立即尝试。无论你在哪里，停下阅读一会儿，环顾四周。然后开始逐渐眯起眼睛，直到表面细节消失，只剩下几个连贯的形状。就是这样！嗯，并不完全是这样，前方还有很多，所以请继续阅读。我刚刚描述的是非常简单的物理部分。我当然意识到，开始尝试时事物似乎只会变暗，但通过练习，你将获得宝贵的信息。当你稍微闭上眼睛时，颜色会趋于减少，让你更容易区分价值。最重要的是，你将开始以更有条理的方式看待事物。
THE TRICK IS KNOWING WHAT TO LOOK FOR WHEN YOU SQUINT. 窍门在于当你眯起眼睛时知道要寻找什么。
To illustrate: hold this book at arm's length and look at this page. Then slowly close your eyes until the paragraphs form gray rectangles on the white paper-bravo! you have just simplified, and you can now paint a picture of this page without doing all the individual words and letters. When I first look at my subject, I squint down to determine: 1 . Which values are the lightest lights (pure white). 2. Which are the darkest darks (black). 3. Which values make up the three average light values (numbers two, three, and four on the value scale). 4. And finally, which values make up the three average dark values (numbers six, seven, and eight on the value scale). The images on the opposite page and following pages show what I see and learn as I gradually squint down. 为了说明：将这本书举在手臂的长度处，看着这一页。然后慢慢闭上眼睛，直到段落在白纸上形成灰色的矩形-太棒了！你刚刚简化了，现在你可以画出这一页的图片，而不必一个个单词和字母地做。当我第一次看我的主题时，我眯起眼睛来确定：1. 哪些值是最轻的光（纯白）。2. 哪些是最暗的暗（黑色）。3. 哪些值组成了三个平均光值（价值尺度上的第二、第三和第四个数字）。4. 最后，哪些值组成了三个平均暗值（价值尺度上的第六、第七和第八个数字）。对面页和接下来的页面上的图像展示了我逐渐眯起眼睛时看到和学到的内容。
Figure 1. Normal view of page. 图 1. 页面的正常视图。
Figure 2. Squinted view of the same page. 图 2. 同一页的斜视图。
Here are two views of a printed page (opposite). The top one, Figure 1, is a page from an early printing of Alla Prima seen normally with eyes wide open. Figure 2 below, shows the same page with eyes partly closed. 这里是一张印刷页面的两个视图（对比）。顶部的视图，图 1，是从早期印刷的《Alla Prima》中的一页，通常用睁大的眼睛看。下面的图 2 显示了同一页面，眼睛半闭。
Ignore the fact that the overall view is darker. The color is mostly lost as well-but notice instead how simplified the image has become! The details of the text have merged to form more or less solid rectangles of medium gray. If that page was in one of your still life paintings or a picture of someone reading, you could show it very easily with just three values and a small number of brushstrokes. 忽略整体视图较暗的事实。颜色大多也消失了-但请注意图像变得多么简化！文本的细节已经合并成了或多或少的中灰色实心矩形。如果那一页出现在你的静物画中或者是一个正在阅读的人的图片中，你只需用三个值和少量笔触就能轻松展现出来。
Open your eyes normally to see your subject's 正常睁开眼睛看你的主题
true values and colors when you actually get down to painting them, but do so with the understanding of their relationships, and the simplicity you saw when you squinted.
There is a definite limit to how far down you can usefully squint before your image becomes something like what you might see if you were legally blind. It doesn't take a whole lot of trying to find that point. Physically, when you squint, your eyelashes come together to form a tiny diffusion screen. That is what does the trick. Any further closing down does not help. My experience has been that only a little closing of the eyes is necessary, perhaps as little as ten to thirty percent. 在你可以有用地眯起眼睛之前，有一个明确的极限，否则你看到的图像会变得类似于你如果合法失明时可能看到的东西。找到这一点并不需要太多的尝试。从生理上讲，当你眯起眼睛时，你的睫毛会聚在一起形成一个微小的扩散屏幕。这就是起作用的原因。进一步闭合并没有帮助。我的经验是只需要稍微闭上眼睛，也许只需十到三十个百分比。
Onlookers watching you squint might think you are angry, or in pain, or have serious eye trouble, but pay no attention to them. Squinting works, and that is all that counts! Besides, it's better than having them watch you do a bad painting. Your dignity will also be restored as they watch a masterpiece happen before their very eyes! 旁观者看到你眯着眼睛可能会认为你生气了，或者在疼痛，或者眼睛有严重问题，但不要理会他们。眯眼是有效的，这才是最重要的！此外，这比让他们看你画一幅糟糕的画要好。当他们看着杰作在他们眼前发生时，你的尊严也会得到恢复！
Admittedly, trying to see through half-closed eyes might seem confusing at first, but please be patient, this is very important to you. Useful squinting is something that comes with practice, and useful practice means doing it properly. Properly means closing your eyes down far enough to reduce the subject to a few basic shapes-yet not so far that all form is lost. The idea is merely to make things simple, not make them disappear in a blur of fuzzy darks-so don't shut your eyes down too far. Please, please, practice until you really get it. 诚然，试图透过半闭的眼睛看东西起初可能会感到困惑，但请耐心，这对你非常重要。有用的眯眼是需要练习的，而有用的练习意味着要做到正确。正确意味着要闭上眼睛到足够低的程度，将主题简化为几个基本形状，但不要闭得太深以至于失去所有形态。这个想法仅仅是为了简化事物，而不是让它们在模糊的黑暗中消失，所以不要闭得太深。请，请练习直到真正掌握。
USING COMPARISON TO GET THE "RIGHT" VALUES 利用比较获得“正确”的价值
I have been describing squinting as a way of simplifying my subject, but how do I pick out the "right" values once I have squinted at things? Let me first give you my definition of "right values" in a painting - they are any set of darks and lights having the same relationship to one another as the values in my subject. If the values in my painting are the same as in the subject, then I'm on the money. I select the "right" values for a block-in by squinting down until details fade away and I can see not more than about five major values in my subject. Then I use only those five or so values for my block-in. In the subsequent stages of my painting I try not to subdivide those five values too much. If I can, I use appropriate color changes instead of more values as I add detail, refine, and complete my work. 我一直把眯眼看作是简化我的主题的一种方式，但是一旦我眯眼看东西，我如何挑选出“正确”的色调呢？让我先给你我的绘画中“正确色调”的定义 - 它们是任何一组暗部和亮部，彼此之间与我的主题中的色调关系相同。如果我的绘画中的色调与主题中的相同，那么我就做对了。我通过眯眼直至细节消失，只能看到主题中大约五个主要色调，来为画块选择“正确”的色调。然后我只使用这五个左右的色调来画画块。在绘画的后续阶段，我尽量不要过多细分这五个色调。如果可以的话，我会在添加细节、完善和完成作品时使用适当的颜色变化，而不是更多的色调。
Comparison allows me to do this, and I continue to constantly compare things throughout the entire process. Comparison is a vital tool for determining all elements in a painting-edges, values, color, and drawing. Accurate drawing is, after all, simply comparing the dimensions of a given shape to others in a subject, then asking myself if they are the same or different, and if so, what the difference is. You can see from this how very important comparison is when you are working larger or smaller than life size. When comparison is used along with squinting, it tells you when something doesn't belong, and when it does. While comparing is clearly important, it isn't particularly difficult. All of us use it in our daily routines to make judgments about everything from whether our socks are the same color, to which tomatoes we will buy. Naturally, a standard of some kind is always involved. I choose an obvious easy-to-see value in the subject as my standard of comparison. Often it will be a model's white collar or black hair or clothing. It is then relatively easy for me to judge the subtle skin tones (middle values) by comparing the degree of difference to the pure white or black. Extremely light or dark values or pure bright colors are always better to use for making comparisons than grayed values. One reason I love snowy landscapes, and why they are a snap to paint, is I have lots of lovely white stuff as a known standard for comparison. 比较让我能够做到这一点，我在整个过程中继续不断地比较事物。比较是确定绘画中所有元素——边缘、价值、颜色和线条的重要工具。准确的线条绘制实际上就是简单地将给定形状的尺寸与主体中的其他形状进行比较，然后问自己它们是否相同或不同，如果不同，差异在哪里。从中可以看出，在绘制比实际大小大或小的作品时，比较是多么重要。当比较与眯眼结合使用时，它告诉你什么不属于这里，什么属于这里。虽然比较显然很重要，但并不特别困难。我们每个人在日常生活中都会使用它来对一切事物做出判断，从我们的袜子是否颜色相同，到我们将购买哪种番茄。当然，总是涉及某种标准。我选择主体中一个明显易见的价值作为我的比较标准。通常会是模特的白色衣领、黑发或服装。然后，相对容易地通过将微妙的肤色（中间价值）与纯白或黑色的差异程度进行比较来判断。 极轻或极暗的价值或纯净明亮的颜色总是比灰色价值更适合用于进行比较。我喜欢雪景的一个原因，也是它们易于绘画的原因，是因为我有很多可爱的白色物品作为已知的比较标准。
STEPPING BACK 退后
Comparing is most effective when you STEP BACK, SQUINT DOWN, and JUDGE (compare) your entire painting 比较最有效的方法是退后一步，眯起眼睛，审视（比较）整幅画作
against the entire subject. Sargent (among many others) reportedly placed his canvas very close to his subject, making all of his decisions from a stepped-back position (about eight feet). He then returned to his canvas, applied his brushstrokes (without looking at the model), and stepped back again to check and see if they looked "right," which meant whether or not they matched what he saw in his subject. He is said to have stepped back relentlessly for virtually every group of brushstrokes in his paintings. It took exceptional discipline, but judging from his work, it was certainly worth it. When I had the rare privilege of visiting Sargent's London studio I looked at the carpet to see if it was worn from all his stepping back, but alas, the carpet had been replaced. 对整个主题。据说萨金特（以及许多其他人）将画布放得非常靠近主题，所有决定都是从一个后退的位置（大约八英尺）做出的。然后他回到画布前，涂抹画笔（不看模特），再次后退检查是否看起来“正确”，这意味着是否与他在主题中看到的相匹配。据说他为他的每一组画笔涂抹不懈地后退。这需要极大的纪律，但从他的作品来看，这绝对是值得的。当我有幸参观萨金特的伦敦工作室时，我看了地毯，看看它是否因为他的不断后退而磨损，但遗憾的是，地毯已经更换。
I highly recommend standing rather than sitting when painting from life or otherwise. That way the habit of stepping back every two or three minutes comes more easily. To this day I still remember my mentor, Bill Mosby, at the Academy, putting his hands on my shoulders to pull me backwards several feet to see mistakes in my painting which were not apparent up close. I stood to paint, and stepped back habitually from the time I was in art school until my middle age years, when a spine injury forced me to sit. Today I get up and walk back to view my canvas every ten minutes, but it's not quite the same. Seeing from a distance is good for many things in life besides painting, just make sure of what is behind you. 我强烈建议在写生或其他情况下，站着而不是坐着绘画。这样，每两三分钟退后一步的习惯就更容易养成。直到今天，我仍然记得我的导师比尔·莫斯比在学院时，他会把手放在我的肩膀上，把我向后拉几英尺，看到绘画中近距离看不出的错误。我站着画画，从艺术学校时起就养成了习惯，直到中年时因脊柱受伤被迫坐下。今天，我每十分钟起身走回去看画布，但感觉不太一样。远处观察对于生活中的许多事情都很有好处，只要确保你身后的情况。
Another big help, whether I stand or sit, is the use of a mirror so I can see my work in reverse. I have a large plate glass mirror, about twenty inches square for studio use. (Avoid cheap mirrors from drugstores or discount outlets. They are usually distorted.) Mine is mounted on a tripod so I can place it a short distance behind me according to the size of my painting. Outside the studio I use a high quality hand held cosmetic mirror. Seeing a painting in reverse is amazing. I always spot one or more mistakes, invariably with proportions or alignment, often embarrassingly obvious errors I was quite blind to before I saw them in my mirror. Mirrors are also nice for checking to see if I have paint on my face. 另一个很大的帮助，无论我站着还是坐着，都是使用镜子，这样我可以看到我的作品的反面。我有一个大的平板玻璃镜子，大约二十英寸见方，用于工作室。 （避免从药店或折扣店购买廉价镜子。它们通常会扭曲。）我的镜子安装在三脚架上，这样我就可以根据绘画的大小将其放在我身后的短距离处。在工作室外，我使用高质量的手持化妆镜。看到一幅画的反面是令人惊讶的。我总是会发现一个或多个错误，通常是比例或对齐方面的错误，这些错误在我看到镜子中的画面之前我完全看不到，这些错误通常是非常明显的。镜子还可以用来检查我脸上是否沾有油漆。
SERENADE oil on panel, 油画《小夜曲》，
Few paintings I have ever done were as simple in values as this. Earlier in the day he had posed for a portrait. Afterward as he was relaxing with his guitar, I asked him not to move for about twenty minutes. The result is the spontaneous quick sketch above. 我所做的画中很少有像这幅作品一样简单的价值观。那天早些时候，他为一幅肖像画摆姿势。之后，当他拿着吉他放松时，我请他保持静止约二十分钟。以上是这幅自发的快速素描的结果。
ALL THE TINY STUFF 所有微小的事物
Imagine the countless details in a field of tall grass, a head of hair, falling snow, a lace dress, or the branches on a line of trees against the sky, and so on. My experience has taught me there are just too many color changes, value transitions, complex edges, and odd shapes in such things to attempt to render them literally. Before Direct Painting was widely practiced, many painters simply replicated intricate details. It was tedious work and in my view unnecessary. I prefer the more interesting solutions which capture the visual effect of detail rather than a literal rendering. Ingenious examples of superb painting of minutiae can be seen in Antonio Mancini's Il Saltimbanco (1879), and William Merritt Chase's painting, A Friendly Call (1895). 想象一片高草地、一头头发、落雪、一条蕾丝裙、或是天空中一排树枝等等中无数细节。我的经验告诉我，这些事物中有太多的色彩变化、价值过渡、复杂的边缘和奇怪的形状，试图以文字形式呈现它们是不现实的。在直接绘画被广泛采用之前，许多画家简单地复制复杂的细节。这是繁琐的工作，在我看来是不必要的。我更喜欢捕捉细节的视觉效果而不是文字形式的更有趣的解决方案。在安东尼奥·曼奇尼的《杂耍演员》（1879 年）和威廉·梅里特·蔡斯的绘画《友好的拜访》（1895 年）中，可以看到精湛细微细节绘画的巧妙例子。
Occasionally a subject will be strong and uncomplicated, as it was when I did the sketch from life of We Three seen on the page opposite. It is exceptional when a subject does not require some reduction of its visual essentials, at least to the extent they can be depicted with a practical number of brushstrokes. Smart squinting at the subject allows me to do that, because it distills small details as well as color shapes close in value down to patterns I can more easily manage. 偶尔，一个主题会是强大而简单的，就像我在对面页面上看到的《我们三人》的素描一样。当一个主题不需要对其视觉要点进行一定程度的简化时，这是非常特殊的，至少可以用实用数量的笔触来描绘。通过聚精会神地盯着主题，我可以做到这一点，因为它将小细节和色彩形状近似价值降低到我更容易处理的图案。
A NOTE ON EDGES 关于边缘的注解
Besides the seeming infinity of detail nature presents to us, complication in a subject also requires the edges of color shapes be sorted out according to their relative hardness or softness. (See Edges, Chapter Six.) When one shape blends gradually into another it can be hard to pinpoint where one ends and the other begins. When transitions are that indefinite, they must be painted the way they appear. It is as simple as that. If you paint a fuzzy shape clearly and distinctly, it won't look like the shape on your subject. Resist the impulse to open your eyes to see more clearly when dealing with indistinct areas, because doing that defeats the purpose of squinting. You must rely on the simplified version of what you see when you squint down. If edges do remain strong when you squint, paint them the way you see them. If they are not, don't make them clear unless there is a good reason to clarify them, and the change doesn't significantly alter the way a subject as a whole looks. 除了自然呈现给我们的看似无限细节之外，主题的复杂性还要求根据它们的相对硬度或柔软度来整理色彩形状的边缘。（见《边缘》第六章。）当一个形状逐渐融入另一个形状时，很难准确地确定一个形状的结束和另一个形状的开始。当过渡如此不确定时，必须按照它们的实际表现来绘制。就是这么简单。如果你清晰明了地绘制一个模糊的形状，它就不会看起来像你主题上的形状。在处理不明显的区域时，抵制睁大眼睛以便更清晰地看见的冲动，因为这样做违背了眯眼的初衷。当你眯眼时，必须依赖于你眯眼时看到的简化版本。如果边缘在你眯眼时仍然清晰，就按照你看到的方式绘制它们。如果不清晰，除非有充分的理由澄清它们且这种改变不会显著改变整体主题的外观，否则不要使它们清晰。
ONE BIG NO-NO: DO NOT SQUINT AT YOUR PAINTING. IT'S POINTLESS. 一个大忌：不要眯着眼看你的画。这毫无意义。
OTHER SQUINTING DON'TS 其他不要眯眼的注意事项
It is important to be aware of what not to look for when squinting. Here are some things to keep in mind: 重要的是要意识到在眯着眼睛时不要寻找什么。以下是一些需要记住的事项：
DO NOT SQUINT FOR COLOR! Colors darken when you do it, and you can't identify them properly. Open your eyes for color. (See Color, Chapter Seven.) 不要眯着眼睛看颜色！当你这样做时，颜色会变暗，你无法正确识别它们。睁大眼睛看颜色。（见《色彩》，第七章。）
It is also not meant to be a way of seeing the true values in a subject. Obviously, the actual values will be lighter when you view your subject normally with open eyes (the darkest darks, however, will remain as they appear when you squint). Keep in mind the purpose of squinting is to make judgments about the relationships among and between values, not to paint the shades you see during squinting. In other words you squint down not to see how light or dark things really are, but rather which values are lightest, which are darkest, and which fall into the middle tones-compared to one another. Those are the important relationships. 它也不是一种看清主题真实价值的方式。显然，当您用睁开的眼睛正常观察主题时，实际价值会更轻（然而，当您眯起眼睛时，最暗的部分将保持原样）。请记住，眯眼的目的是为了判断价值之间的关系，而不是描绘眯眼时看到的阴影。换句话说，您眯起眼睛不是为了看清事物到底有多明亮或多暗，而是为了确定哪些价值最轻，哪些最暗，哪些属于中间色调-相互之间的比较。这些是重要的关系。
Some common sense is needed. Many of the things we paint consist of complicated tangles of small irregular contrasting values which should not be interpreted as a single shape with only one predominant value. You cannot, after all, average out the black and white stripes on a zebra and paint him flat gray. It won't look like a zebra! In such cases, try to divide your subject into as major value shapes as possible. And do so without ignoring those which are clearly important to describe your subject, even if they are small shapes. If the shapes are very tiny and numerous, view them from the greatest distance practicable, and use your experience and the good old common sense I mentioned above. 需要一些常识。我们绘制的许多事物都由复杂的小不规则对比值纠缠而成，不应被解释为只有一个主导值的单一形状。毕竟，你不能将斑马身上的黑白条纹平均处理，然后涂成灰色。这样看起来不像斑马！在这种情况下，尽量将你的主题划分为尽可能多的主要值形状。即使是小形状，也不要忽视那些明显重要以描述你的主题的形状。如果形状非常微小且众多，尽可能从最大距离观察它们，并运用你的经验和我上面提到的那种老练的常识。
WE THREE oil on panel, 我们三个 油画 画板上
This small painting illustrates every point I made in the first paragraph on the page opposite, about simplifying complicated elements into plain value areas. The doll in the center had actual human hair, and I could see each one distinctly if I looked with my eyes wide open. With a bit of squinting her entire hairdo resolved into one value with one interesting shape and a variety of edges, and guess what, it looks exactly like hair! In the context of this painting I gave the same treatment to the way I rendered the doll's dresses and the blue-purple bow on the red headed doll. 这幅小画展示了我在对面页面第一段中所提到的每一点，即将复杂的元素简化为简单的价值区域。中间的玩偶有真人头发，如果我睁大眼睛看，我可以清楚地看到每根头发。稍微眯起眼睛，她整个发型就变成了一个价值，有一个有趣的形状和各种边缘，猜猜看，它看起来确实像头发！在这幅画中，我对玩偶的衣服和红发玩偶头上的蓝紫色蝴蝶结采用了同样的处理方式。
What I enjoyed most of all in doing this painting was giving imaginative personalities to the trio above. Having raised three girls myself, I have abundant experience in dealing with multiple unique mentalities. 在这幅画中，我最喜欢的是赋予上方三人以富有想象力的个性。我自己养育了三个女儿，对应对多种独特心态有丰富经验。
I sometimes have a tendency to simply forget to squint, and instead open my eyes wide to see a vague area in my subject more clearly. We all do it, but it is not a good idea. Why? Because looking wide-eyed at my subject, I will always see more values than I want or need. Also, the longer I stare at a single spot, such as a cloud in a landscape for example, the more values will appear. This happens because the pupils of my eyes contract to accommodate the brightness, consequently I see additional value changes in that one particular spot (as you might see in an underexposed photo). Likewise and inversely, when looking into a dark area with wide open eyes, my pupils enlarge, and I see many more value changes (like an overexposed photo). It is always a matter of judgment about whether or not to include those values. I always make a decision by shifting my gaze away from the light or dark areas, and instead squint at my subject as a whole. If the values in question are still visible, I paint them. 有时候，我会倾向于忘记眯起眼睛，而是睁大眼睛，以更清晰地看到主题中的模糊区域。我们都会这样做，但这并不是一个好主意。为什么呢？因为睁大眼睛看主题，我总是会看到比我想要或需要的更多价值。此外，我盯着一个地方看得越久，比如风景中的一朵云，就会出现更多的价值。这是因为我的瞳孔会收缩以适应亮度，因此我会看到那个特定位置的额外价值变化（就像在曝光不足的照片中看到的那样）。同样地，当用睁大的眼睛看向黑暗区域时，我的瞳孔会扩大，我会看到更多的价值变化（就像在曝光过度的照片中看到的那样）。是否包含这些价值总是一个判断问题。我总是通过把目光从光亮或黑暗区域移开，而是眯起眼睛看整体主题来做出决定。如果有问题的价值仍然可见，我就会把它们画出来。
In my art school days, some of my fellow students tried various ways to get around the darkening problem associated with squinting. Incredibly, they first tried simply throwing their eyes out of focus. When they failed, they went to a drugstore and bought strong eyeglasses meant for the nearsighted, which they then wore to make things look fuzzy. They all got headaches from eyestrain and never did succeed in sorting out values. (I tried their gimmicks once too, so I know.) The reason such tricks can't work has something to do with the eye's automatic focusing response and the disorientation which follows when it is frustrated. Working from poorly focused photos has the same unsettling effect. Avoid them. Just squint and use your intelligence to sort things out. 在我上艺术学校的日子里，一些同学尝试了各种方法来解决因眯眼而导致的变暗问题。令人难以置信的是，他们首先尝试简单地让眼睛失焦。当他们失败时，他们去了药店买了专门给近视者用的强度眼镜，然后戴上让事物看起来模糊。他们都因眼部疲劳而头痛，从未成功地搞清楚价值观。 （我也曾尝试过他们的把戏，所以我知道。）这样的把戏不能奏效的原因与眼睛的自动聚焦反应以及受挫时随之而来的迷失有关。从聚焦不好的照片工作也会产生同样令人不安的效果。要避免这种情况。只需眯着眼睛，利用智慧来搞清楚事情。
Be careful of reflected lights within shadows. They are rarely as light or as colorful as they seem at a casual glance. Squint down at them, and you will see they are almost always only slightly lighter in value as the overall shadow area. 小心阴影中的反射光。它们很少像在随意一瞥时看起来那样明亮或丰富多彩。眯起眼睛看它们，你会发现它们几乎总是比整体阴影区域稍微亮一点。
To underscore what I said at the beginning of this section: please do not squint at the image on your canvas. Artists do this all the time because it seems to eliminate mistakes by making everything in their picture look soft and "arty." It is the same device Hollywood uses to film aging movie stars when cameramen use a soft focus lens to obscure wrinkles and freckles. They only kid themselves and so will you. So to repeat again-squint at your subject, but open your eyes to look at your painting! Don't get this backwards! And don't squint at yourself in the mirror. Accept your wrinkles proudly. 强调我在本节开头所说的：请不要在画布上的图像上眯起眼睛。艺术家经常这样做，因为这似乎可以通过使画面中的一切看起来柔和和“艺术化”来消除错误。这与好莱坞用来拍摄老化电影明星的方法相同，摄影师使用柔焦镜头来遮盖皱纹和雀斑。他们只是自欺欺人，你也会如此。所以再重复一遍 - 眯起眼睛看你的主题，但睁开眼睛看你的画作！不要搞反了！不要在镜子里眯起眼睛看自己。自豪地接受你的皱纹。
CONSERVATION OF VALUES 价值观的保护
The Masters who maintained simple value patterns in their paintings seldom used more than five values (except in the transition zones and soft edges between shapes). You can see this dramatically in black and white reproductions of works by Howard Pyle, Serov, Vandyke, Rembrandt, and others, including the best of the great American illustrators. They were stingy with the number of tones they used and never employed more than were necessary. In many of his portraits, Sargent usually employed only three values in the light, two in the darks, and then added only some of the more necessary highlights and dark accents. 在他们的绘画中保持简单价值模式的大师们很少使用超过五个价值（除了在形状之间的过渡区域和柔和边缘）。您可以在霍华德·派尔、谢罗夫、范戴克、伦勃朗等人的作品的黑白复制品中明显看到这一点，包括伟大的美国插画家中的佼佼者。他们在使用色调的数量上很吝啬，从不使用超过必要的数量。在萨金特的许多肖像中，他通常只使用三个明亮的价值，两个暗色调，然后只添加一些更必要的亮点和暗调。
This economy or conservation of values is based on two ideas. The first is about design-a few clear-cut values in a painting will yield a more powerful visual effect than a profusion of small values (overmodeling). This is why Impressionistic painting, which as a rule pays little attention to strong value patterns, is not as effective in monochrome reproduction as it is in full color. (Impressionism by its nature is concerned with other effects.) 这种经济或价值的保守是基于两个观念。第一个观念是关于设计-绘画中少数清晰明确的价值会产生比大量小价值（过度建模）更强大的视觉效果。这就是为什么印象派绘画通常不太关注强烈的价值模式，所以在单色复制中效果不如在全彩色中那么有效。（印象派本质上关注其他效果。）
The second idea is that more often than not it is simply unnecessary to use all values in a subject. Color temperature changes can frequently be used instead. This substitution of color for value is usually not only more pleasing, but also makes better sense. Why? Because we have many more colors (many thousands) than values (nine) at our disposal, so using a color instead saves a value. Superb examples of this use of color are found in the paintings of Mary Cassatt. She had the uncanny ability to portray form with a bare minimum of darkening-a feat impossible without color. 第二个想法是，通常情况下，在主题中使用所有值是完全不必要的。颜色温度变化经常可以代替。用颜色代替价值的这种替换通常不仅更令人愉悦，而且更有意义。为什么？因为我们有更多的颜色（成千上万种）可供选择，而不是值（九种），所以使用颜色而不是值可以节省价值。玛丽·卡萨特（Mary Cassatt）的绘画中发现了这种对颜色的运用的绝佳例子。她有一种神奇的能力，可以用最少的加深来描绘形式-这是不可能没有颜色的。
PORTRAIT SKETCH (Detail), oil on canvas, 肖像速写（细节），油彩画布，
The painting above of a beautiful young lady who posed for our painting group in Chicago, was one of the most difficult portraits I have ever dealt with. Not only did she have a dark complexion, but there was strong cold light on her right side, and a warmer light on her left side. So her facial features were defined as much by the shapes created by the lighting, as by the natural anatomical structure of her face. 上面的一幅美丽年轻女士的画是芝加哥画组中为我们摆姿势的，是我处理过的最困难的肖像之一。她不仅皮肤较深，而且右侧有强烈的冷光，左侧有温暖的光线。因此，她的面部特征不仅由光线创造的形状定义，还受到自然解剖结构的影响。
Édouard Manet, Berthe Morisot, Degas and others were also good at managing values. They understood the weakness in overmodeling - the use of too many values to indicate form. All were careful to keep their designs strong by maintaining only a few simple values, clearly establishing their major areas as belonging in either the light or dark patterns, and not invading those areas with needless or inappropriate values. They almost always used a color change instead. (Much more on this is ahead in the chapter on Color.) 埃杜瓦·马奈、贝尔特·莫里索、德加等人也擅长处理价值观。他们了解过度建模的弱点 - 使用过多的价值来指示形式。所有人都小心保持他们的设计强大，只保留几个简单的价值观，清楚地将主要区域确定为属于光明或黑暗模式，并不用不必要或不合适的价值触及这些区域。他们几乎总是使用颜色变化代替。（关于这一点，在颜色章节中会更详细介绍。）
Fortunately, we have an unlimited supply of colors and ways to use them. For example, in certain light situations a turn in the form on a subject of as much as 40 degrees can be shown with color temperature changes alone before a change in value becomes necessary. This treatment is mostly an option where the ambient light is very soft, such as north daylight. My personal guideline is to always check if changing the color temperatures of my mixtures will do the job before I change the value. 幸运的是，我们有无限的颜色供应和使用方式。例如，在某些光线情况下，主体形式的转向可以通过仅仅改变色温来展示高达 40 度，而无需改变价值。这种处理大多是在环境光线非常柔和的情况下才会考虑，比如北向日光。我的个人指导原则是在改变价值之前，始终检查改变混合物的色温是否能达到效果。
Value relationships are certainly not all this cut and dried, and there is clearly room to make choices about emphasizing or restraining them to meet your artistic intentions, but keeping your values uncomplicated and few in number is a sound idea no matter what creative changes you do or do not make. It allows you to simplify the way you look at a subject and render it. I also believe from my own experience and seeing the Master's works that it is the primary basis of strong color and design. 价值关系当然不是一成不变的，显然有空间可以选择强调或限制它们以满足您的艺术意图，但无论您做出还是不做出创意改变，保持您的价值观简单且数量不多是一个明智的主意。这样做可以简化您看待主题并呈现它的方式。根据我的经验以及观察大师的作品，我相信这是强烈色彩和设计的主要基础。
TIPS ON VALUES 价值观建议
Watch out for highlights! They are rarely as bright as you think they are. Choose not to paint them at all unless you think they are necessary. (This is especially true in portraits.) If you must paint them, find out what color they are, don't just use white alone. Also, look for one highlight to dominate all others in a painting. This is especially true in painting eyes. The highlight in one eye (usually the nearest to you) always predominates over the other, and neither are as bright as they first appear. Don't just make them white, make them a color (usually it is cool). Squint at them and see! 注意高光！它们很少像你想象的那么明亮。除非你认为有必要，否则选择不去描绘它们。（尤其是在肖像画中。）如果你必须描绘它们，找出它们的颜色，不要只用白色。此外，在一幅画中，寻找一个高光主导其他所有高光。这在画眼睛时尤为重要。一个眼睛中的高光（通常是最靠近你的那只）总是比另一个更显眼，而且它们都不像最初看起来那么明亮。不要只是让它们变白，让它们成为一种颜色（通常是冷色调）。眯起眼睛看看它们！
The same is true for the whites of eyes. They are never white! Usually they are similar in color to surrounding flesh tones, but slightly lighter and less warm (and quite cooler in children's eyes). Also the whites of both eyes in a subject, or the whites on either side of a pupil, are rarely equal in value, and their edges, as all edges in eyes, are always soft. Painting things too light or too dark always happens when you fail to accept what you see when you squint, or when you open your eyes to see more clearly. Isn't all of this great to know? 眼白也是如此。它们从来不是白色！通常它们的颜色与周围肤色相似，但稍微较浅、较冷（儿童眼睛中则相当冷）。另外，主体双眼的眼白，或者瞳孔两侧的眼白，很少具有相同的明度，而且它们的边缘，就像眼睛中的所有边缘一样，总是柔和的。当你无法接受眯眼时所看到的东西，或者当你睁开眼睛看得更清楚时，画物太亮或太暗总是会发生。这一切都是不是很有趣吗？
Dark accents, where they are appropriate, are always more effective than highlights. Look for them! Almost always they will be relatively warm in temperature-warmer than any nearby color regardless of the temperature of the light source on the subject. I don't know why this is so, they just are. Usually they will be mixtures of Transparent Oxide Red plus Alizarin Crimson and a mere touch of Ultramarine Blue Deep. Cool colors as dark accents usually produce a "dirty" look. Exceptions where the dark accents actually are cool (relative to surrounding colors) usually involve local color changes at the point of the accent, such as an abrupt pattern change in the folds of fabrics, or more frequently, in landscape painting when many different substances are intermingled (soil, grass, rocks, water, snow, branches, etc.). Transparent substances such as water, ice, snow, clouds, etc., also can have cool dark accents along with warm ones. 深色强调，如果适当的话，总是比亮点更有效。寻找它们！几乎总是相对温暖的温度-无论主体上的光源温度如何，它们都会比任何附近的颜色更温暖。我不知道为什么会这样，它们就是。通常它们会是透明氧化红加茜素红再加一点点群青。凉色作为深色强调通常会产生“脏乱”看起来。实际上深色强调是凉色的例外情况（相对于周围颜色）通常涉及强调点的局部颜色变化，比如在织物褶皱的突然图案变化，或更频繁地在风景画中，当许多不同物质相互混合时（土壤、草地、岩石、水、雪、树枝等）。透明物质如水、冰、雪、云等，也可以有凉色深色强调以及温暖的。
Choose to be bold rather than timid with values. Don't hold back when you clearly see strong lights and darks. For example, the most common error I see when students do portraits or figures, is a reluctance to paint dark enough in shadow areas. The main reason this happens is they are afraid the color will not look like "flesh," or it will look "muddy." Neither of these things will happen if the appropriate color temperature is maintained. Flesh tones, after all, can be any color-even pitch black when the lights go out! 选择大胆而不是胆怯的价值观。当你清晰地看到强烈的明暗对比时，不要犹豫。例如，我在学生画肖像或人物时经常看到的一个常见错误是他们在阴影区域不敢涂得够深。这种情况发生的主要原因是他们担心颜色看起来不像“肤色”，或者会显得“浑浊”。只要保持适当的色温，这两种情况都不会发生。毕竟，肤色可以是任何颜色-甚至在灯灭的时候也可以是漆黑的！
The other more common reason for painting darks too light is that painters tend to open their eyes to see into the shadows (that natural reflex again). Wide open eyes are great for seeing color, but don't do it for values-squint and compare the shadow to other correctly painted darks. 绘画中将暗部画得太亮的另一个更常见的原因是画家倾向于睁大眼睛看进阴影中（这又是一种自然的反射）。睁大眼睛对于看到颜色很有帮助，但对于价值观来说不够准确 - 眯起眼睛，将阴影与其他正确绘制的暗部进行比较。
KILCHURN CASTLE oil on canvas, 8 x 16, Loch Awe, Scotland, 1997 基尔克恩城堡 油画，8 x 16，奥湖，苏格兰，1997
Kilchurn Castle was the very first castle I ever painted. For many years this magnificent 13 th century structure stood shrouded behind a dense growth of trees on a small rise on a rocky island on Loch Awe in south central Scotland. In recent years many of the trees had been cleared away and restoration made to the castle. Of course it was a dream come true for me. I was so nervous I was surprised I did as well as I did. 基尔霍恩城堡是我第一次绘制的城堡。多年来，这座宏伟的 13 世纪建筑物一直被茂密的树木掩映，矗立在苏格兰中南部洛赫奥湖的一座岩石小岛上。近年来，许多树木已被清理，城堡得以修复。当然，这对我来说是梦想成真。我当时非常紧张，惊讶自己的表现如此出色。
I set up my easel and paints at the edge of the Loch (lake) where I had an unobstructed view of Kilchurn barely fifty yards away. My canvas was quite small, only inches, and the pattern of lights and darks in the scene was amazingly simple as you can see above. With a minimum of detail to contend with, I was able to concentrate on the six or so major value areas, each with its own fascinating and defining edges. 我在洛赫（湖）边设置了画架和颜料，从那里我可以清晰地看到凯尔楚恩堡只有五十码远。我的画布相当小，只有 英寸，场景中的明暗色彩模式惊人地简单，就像你上面所看到的那样。由于细节很少，我能够专注于六个左右的主要价值区域，每个区域都有其迷人和定义性的边缘。
Later, while showing the picture to some local Scots, they told me about an old lady who lived alone in the castle's Keep (the large open central court within the walls of the castle). She lived there not very long ago when it was still a deserted ruin. The lady raised herbs which she sold in the village. As time went by it was noticed she was not appearing at market with her herbs. An extensive search for her revealed not a trace of her whereabouts, or even if she had ever lived in the castle. Today, however, her ghost is regularly seen at the window of the main tower. Now I do not believe any of that for a minute. I never once saw her during several hours of looking at the castle intensely while I was painting, but it doesn't mean she wasn't there-watching me . . 后来，当我向一些当地苏格兰人展示这幅画时，他们告诉我一个住在城堡主楼（城堡墙内的大型开放中庭）里的老太太的故事。不久之前，当这里仍然是一片废墟时，她就住在那里。这位老太太种植草药，然后在村庄里出售。随着时间的推移，人们发现她不再带着草药出现在市场上。对她进行了广泛搜索，但没有发现她的踪迹，甚至不确定她是否曾经住在城堡里。然而，如今，她的鬼魂经常被看到出现在主塔的窗户边。我一分钟也不相信这些。在我专心作画几个小时的时候，我从未看到过她，但这并不意味着她不在那里——看着我。
We only have nine values to work with from white to black. Even if we divided the value scale into a hundred values, the range would still only be from Titanium White to Ivory Black or Lamp Black. 我们只有从白色到黑色的九个色值可供使用。即使我们将色值划分为一百个，范围仍然只能是从钛白到象牙黑或灯黑。
It is impossible to duplicate the full range of nature's lights and darks because nature creates colors (and consequently values) with light itself, while our palette pigments create color only by reflection. 无法复制自然光与暗的全部范围，因为自然是通过光本身创造颜色（因而产生价值），而我们的调色板颜料只能通过反射创造颜色。
We can, however, create the effect of light by seeking out and using the relationships among values and colors in our pictures. 然而，我们可以通过寻找并利用图片中价值和颜色之间的关系来营造光的效果。
You can easily see those relationships by squinting down at a subject to simplify it until you can see which areas and shapes are lightest, darkest, and which fall into a limited range of middle tones. 您可以通过眯起眼睛看主题来轻松地看到这些关系，简化主题直到您可以看到哪些区域和形状是最亮的，最暗的，以及哪些落入有限范围的中间色调。
Constantly compare values in a subject to one another to make judgments (while squinting) about which values in a subject are lightest, darkest, etc. To make things easier, use a standard of comparison such as a pure white or black in the subject to make those calls. I'm told Sorolla kept a clean white handkerchief with him when he painted, which he would toss into or onto his subject to remind himself of what white really looks like. 不断地将主体中的价值相互比较，以判断主体中哪些价值是最轻、最暗等（同时眯着眼睛）。为了简化事情，可以使用一个比较标准，比如在主体中使用纯白色或黑色来做出这些判断。据说索罗拉在绘画时身边总带着一块干净的白手帕，他会把它扔进或放在主体上，以提醒自己白色真正的样子。
Overmodeling and running out of values can be avoided by substituting color changes for value changes whenever possible. 通过尽可能用颜色变化替代数值变化，可以避免过度建模和数值用尽的情况。
If you wish, you can create a stronger design structure in a painting by restricting the number of values in the major areas. 如果你愿意的话，你可以通过限制主要区域的色值数量来在绘画中创造更强大的设计结构。
Paint standing up if you can and step back frequently to view your entire painting and compare it to the entire subject. Sitting for too long and too close to a painting almost guarantees mistakes. 如果可以的话，站着作画，并经常退后一步，观察整幅画作并将其与整个主题进行比较。长时间坐着且离画作太近几乎肯定会导致错误。
Abstract 摘要
PRACTICE THE SKILL OF SQUINTING AND COMPARING UNTIL THEY BECOME A HABIT SECOND NATURE TO YOU, LIKE LOOKING BOTH WAYS BEFORE YOU CROSS A BUSY STREET. 练习眯着眼睛和比较的技巧，直到它们成为你的第二天性，就像在穿过繁忙的街道之前两边看一样。
BELIEVE AND ACCEPT THE RELATIONSHIPS YOU OBSERVE WHEN YOU SQUINT, AND NEVER DOUBT THEM. 相信并接受你眯着眼看到的关系，永远不要怀疑它们。
Abstract 摘要
AFTER YOU HAVE THE INFORMATION ABOUT VALUES YOU NEED FROM SQUINTING-WHICH ARE THE LIGHTEST LIGHTS, DARKEST DARKS, MIDDLE TONES, ETC.-OPEN YOUR EYES NORMALLY THEN TO SEE THE TRUE VALUES AND COLORS IN ORDER TO PAINT THEM. 在你通过眯着眼睛获得了关于价值观的信息之后，即最轻的光，最暗的暗色，中间色调等，然后正常睁开眼睛，以便看到真实的价值观和颜色，从而加以描绘。
IMAGE ONE 图像一
IMAGE THREE 图像三
IMAGE TWO 图像二
These photos are one example of what to look for when you squint at a subject. Image one shows what the subject normally looks like. Notice how much detail there is throughout the photo and the number of value changes everywhere except the sky, which is very simple in value. 这些照片是在你眯起眼睛观察一个主题时要寻找的一个例子。第一张图片展示了主题通常的样子。请注意照片中的细节有多丰富，以及除了天空之外，各处价值变化的数量。在价值上，天空非常简单。
Image two is what you would probably see squinting down halfway. What you should look for here is the way some values have merged and become simplified. Notice how the church, the foreground and some of the background trees have joined to form a single value shape. Notice as well all superfluous detail is simply no longer there. 图像二是您可能会看到的半闭眼的样子。您应该注意的是一些值的融合和简化方式。请注意教堂、前景和一些背景树是如何合并成一个单一值形状的。同样请注意所有多余的细节都已经不复存在。
Image three is what you will see when you squint down a lot more. Notice how the scene as a whole has been reduced to three major values. The sky, two headstones and the little dots for flowers are now easily seen as the lightest lights in the whole scene. The roof of the church and the slash of sunlight on the grass are the middle tone. And the trees and foreground and shadow side of the church are the darkest dark. Knowing the lightest lights, the middle tones, the darkest darks, and which values are equal-all of this is invaluable information. 图像三是当您眯起眼睛更多时会看到的。请注意整个场景已经被简化为三个主要值。天空、两块墓碑和小花点现在很容易被看作是整个场景中最轻的光。教堂的屋顶和草地上的一道阳光是中间色调。树木、前景和教堂的阴影侧是最暗的暗色。了解最轻的光、中间色调、最暗的暗色，以及哪些值是相等的-所有这些都是宝贵的信息。
SHANNON ONE SHANNON ONE
香农一
Here are more examples of what to discover about your subject (SHANNON ONE, above) when you squint down at it gradually. Remember, squinting is not meant to be a way of seeing the true values in a subject. The true values are the ones you see when you view your subject without squinting. The purpose of squinting is to make judgments about the relationships among and between values. In other words you squint down not to see how light or dark things really are, but rather which values are lightest compared to all the others, which are darkest, and which fall into the middle tones. 以下是更多关于您主题（上面的 SHANNON ONE）的发现的示例。请记住，眯眼并不意味着要看清主题的真实价值。真实价值是您在不眯眼时看到的价值。眯眼的目的是对价值之间的关系做出判断。换句话说，您眯眼并不是为了看清事物的明暗程度，而是为了看出哪些价值相对于其他所有价值最轻，哪些最暗，哪些属于中间色调。
The lightest lights, darkest darks, and clear middle tones are the important relationships to recognize in any subject, because they help make judgments about the lightness or darkness of the other more subtle values, and they help in creating a more powerful design. 最轻的光，最暗的暗，以及清晰的中间色调是任何主题中重要的关系，因为它们有助于判断其他更微妙价值的明暗，并有助于创造更有力的设计。
SHANNON TWO 香农二
SHANNON TWO shows how squinting down, even just a little, eliminates smaller details so the values in the couch, the darks in Shannon's hair and blouse, her robe, and the dark values in Nancy's painting behind the model, are all coming together to form a single value shape-imagine how just this small amount of squinting makes a block-in so much easier! SHANNON TWO 展示了如何微微闭眼，甚至只是一点点，就会消除较小的细节，使沙发上的价值，Shannon 头发和衬衫上的黑色，她的长袍，以及模特身后南希画作中的暗色值，都汇聚在一起形成一个单一的价值形状-想象一下，仅仅这么小的闭眼动作会让一个大块的描绘变得如此容易！
At this degree of squinting, you will also begin to notice how almost every other area of the subject has become simplified. The pattern in the robe is still apparent, but the pattern and the shadows together have been slightly joined and reduced to two values rather than the original five or six values (yet another help in blocking-in). 在这种程度的斜视下，您还会开始注意到主题的几乎每个其他区域都变得简化了。长袍上的图案仍然明显，但图案和阴影一起已经略微合并并减少到两个值，而不是最初的五到六个值（这是另一种帮助进行初步画面构图的方法）。
Always remember: open your eyes to see the true colors, and squint down to see the relationships between values and edges. 永远记住：睁开眼睛看到真实的色彩，眯起眼睛看到价值和边缘之间的关系。
SHANNON THREE 香农三
SHANNON THREE demonstrates clearly the value of how skillful squinting makes almost every subject instantly understandable! How clear it is now! If you observe carefully there are only two values in the light parts and pretty much only one value in all of the dark areas. SHANNON THREE 清晰地展示了瞬间让几乎每个主题变得易于理解的技巧性眯眼的价值！现在它是多么清晰！如果你仔细观察，光部分只有两个值，而所有暗区几乎只有一个值。
Now the painting becomes pure enjoyment to finish, because reducing the subject to its essentials has gotten all the hard stuff out of the way. You can see now that squinting down to see the larger value relationships is basically a process of elimination - as you squint down bit by bit, more and more of the nonessentials vanish into larger, more understandable and masterful value shapes, and are thus greatly helpful in doing a well drawn block-in, and a well drawn block-in is almost a finished painting! 现在，绘画变成了纯粹的享受，因为将主题简化到其基本要素已经解决了所有困难。现在你可以看到，眯起眼睛看更大价值关系基本上是一个排除的过程 - 当你逐渐眯起眼睛时，越来越多的非必要元素消失在更大、更易理解和娴熟的价值形状中，因此在进行良好的画块描绘时非常有帮助，而良好的画块描绘几乎就是一幅完成的画！
SHANNON FOUR 香农四
SHANNON FOUR—If there is the slightest doubt about which values are the lightest lights in any subject, squint down until you have reduced your subject to two values as shown above. This is about as simple as things can get while squinting. If you should squint any further until all you see is black, it could mean you have fallen asleep. 香农四——如果对任何主题中哪些价值是最轻的光有丝毫疑问，请眯起眼睛，直到你将主题简化为上面所示的两个价值。这是在眯眼的情况下事情可以变得多么简单。如果你继续眯眼直到看到的全是黑色，那可能意味着你已经睡着了。
Quite seriously now, I must tell you this section was not easy to write. This is mainly because the intent is to see relationships rather than true values. But then, when it comes to doing the painting you must switch your thinking back to what the actual values are. It takes practice but once you learn to use this simple technique with your eyes it will be a part of every solution you employ in creating a painting. In many ways, these two pages are the most important in this book. 相当认真地说，我必须告诉你，这一部分写起来并不容易。这主要是因为意图是看到关系而不是真实价值。但是，当涉及绘画时，你必须将思维转回到实际价值。这需要练习，但一旦你学会用你的眼睛使用这种简单的技巧，它将成为你在创作绘画中使用的每个解决方案的一部分。在许多方面，这两页是本书中最重要的部分。
This small sketch of a couple in a park in Madrid was painted on a fairly rough textured, white lead Masonite panel. I mention the texture because it was the key to achieving many of the loose edges you see above. I doubt a more refined and detailed rendering on a smooth ground could equal the painterly strength of this work. 这幅描绘马德里公园一对情侣的小速写是在一块相当粗糙质地的白色铅马赛地板上绘制的。我提到质地是因为它是实现你在上面看到的许多松散边缘的关键。我怀疑在光滑地面上更精致和详细的渲染是否能够与这幅作品的绘画力量相匹敌。
Speculation has it this is actually a painting of Nancy and myself. By chance we did happen to be in Retiro Park in Madrid on that very day, and so it is altogether possible I painted us with my right hand, which you will note—is not visible. 有传言称这实际上是一幅描绘南希和我自己的画作。碰巧的是，那一天我们确实在马德里的雷蒂罗公园，所以完全有可能是我用右手画了我们，你会注意到——右手并不可见。
CHAPTER SIX—EDGES 第六章-边缘
Think about edges the way you would think about kissing someone. How many are the ways-and what can you impart in the process? Think of edges as the most exquisite of subtleties, as the means to open the secret recesses of the heart. Edges are ways to make your dabs of paint whisper, or shout, and reach nuances which can amplify your palette of colors. Think of them as visual poetry oozing from your brush—but especially think of edges as you would the agents of expression in music. 想象边缘就像想象亲吻某人一样。有多少种方式，你能在这个过程中传达什么？把边缘看作是最精致的微妙之处，是打开心灵秘密隐匿处的手段。边缘是让你的涂抹轻声细语或高声呐喊，并达到可以增强你的色彩调色板的细微差别的方式。把它们看作是从你的画笔中渗出的视觉诗歌，但尤其要把边缘看作是音乐中表达的媒介。
It is surprising how many parallels there are between music and painting. We artists speak of harmony, tones, rhythm, notes, form, composition, and so on-words which are also common musical terms. I think of edges as pianissimo (very soft), andante (flowing), allegro vivace (fast and lively), maestoso (majestic), fortissimo con sforzando (whamo!). These beautiful adjectives are used in musical phrasing to designate the physical manner in which keys, valves, strings, or drums, are touched (legato, staccato, etc.), as well as the way they are strung together (phrasing). While there is certainly no exact correlation between music and painting, certain comparisons are valid about the various ways we "touch" a painting with our "notes" of color. A wide variation of touch and speed gives music its richness of expression, and a lavish variety of edges does the same thing in painting. 令人惊讶的是音乐和绘画之间存在着许多相似之处。我们艺术家谈论和谐、音调、节奏、音符、形式、构图等等词汇，这些词汇也是常见的音乐术语。我把边缘想象为 pianissimo（非常柔和）、andante（流畅）、 allegro vivace（快速活泼）、maestoso（庄严）、fortissimo con sforzando（强烈突然）。这些美丽的形容词用于音乐乐句中，用以指定按键、阀门、琴弦或鼓面的物理接触方式（连贯、断奏等），以及它们如何串联在一起（乐句）。虽然音乐和绘画之间肯定没有确切的对应关系，但关于我们如何用色彩的“音符”“触摸”绘画的各种方式，某些比较是有效的。广泛的触感和速度变化赋予音乐丰富的表现力，而丰富多样的边缘在绘画中也起到同样的作用。
Each time we touch a brush to canvas we create edges. It is the character of those edges--the gradual or abrupt way with which they merge with other strokes-that makes all the difference. 每当我们用画笔触及画布时，我们就创造了边缘。边缘的特性——它们与其他笔触融合的逐渐或突然的方式——造就了一切不同。
This difference is not only about the lyrical quality of our painting, it is also crucial to whether or not our work appears convincing. Why? Because you and I focus our eyes in a uniquely selective way when we look at things in the course of our daily routines. Only a small area at the center of our gaze is in perfect focus; all the rest is relatively indistinct. Because of our binocular vision we also see slightly around the edges of objects (an effect which diminishes with the square of its distance from us). Edges are the only visual tools I am aware of which can replicate that special way of focusing. We see in ways no cameras or recording devices can quite duplicate (not yet anyway). So far, only a certain type of highly skilled painting can come close to the way we humans actually see things (because the seeing painter is the recording device). If we are sensitive to the wide variety of edges in our subject, and we can translate them into appropriately hard or soft transitions between color shapes, there will be magic in our painting. If we ignore edges, our work will be flat and unconvincing, rather like computer generated voices. Remember, I am referring here only to painting which attempts to create an illusion of a person's ordinary visual reality. All other ways of realistic painting, while unquestionably valid in terms of artistic license, are deviations from, or changed versions, of nature. Obviously non-representational art is playing an entirely different game, and is not relevant here. 这种差异不仅仅体现在我们绘画的抒情质量上，它对于我们的作品是否令人信服也至关重要。为什么呢？因为在日常生活中，你和我在观察事物时会以独特的选择性方式聚焦眼光。只有视线中心的一个小区域处于完美聚焦状态；其他所有部分相对模糊。由于我们的双眼视觉，我们也会稍微看到物体边缘的周围（这种效果随着距离的平方而减弱）。边缘是我所知道的唯一可以复制那种特殊聚焦方式的视觉工具。我们以一种相机或录像设备无法完全复制的方式观察事物（至少目前还无法）。到目前为止，只有某种类型的高技能绘画可以接近我们人类实际看到事物的方式（因为观察的画家就是记录设备）。如果我们对主题中各种边缘敏感，并且能够将它们转化为颜色形状之间适当的硬或软过渡，我们的绘画将会有魔力。如果我们忽视边缘，我们的作品将会平淡无力，有点像计算机生成的声音。 请记住，我在这里只是指试图创造一个人普通视觉现实的绘画。所有其他形式的写实绘画，虽然在艺术许可的范围内无疑是有效的，但都是对自然的偏离或改变版本。显然，非表现性艺术正在玩一个完全不同的游戏，与此无关。
Superb displays of edges are present in most of the masterpieces of representational painting beginning about the time of Velasquez and Hals and continuing through the beginning of the 20th century. Virtuosos of edges were keenly aware of them and made full use of their potential. Today, however, edges are probably the least understood of our tools. Since the 1930s, except for the teachings of people like Bill Mosby, and the work of some distinguished illustrators, the skills attending edges appear to have gradually declined in painting. To my knowledge, not much has been written at length about them in the past. However, I have noticed an increase of interest in the subject since Alla Prima was published in 1998. My hope is that instruction on the use of edges will soon be presented on an equal basis with drawing, values, and color in realistic painting classes. It won't be easy or happen overnight because there is something uncomfortably elusive about them. Their very nature makes them difficult to measure or define, and much in our perception of edges, as well as our judgment in rendering them, is purely subjective. The good news is there are things about edges which are not arbitrary. Nevertheless, if violin or piano, or vocal technique can be taught, so can expressive edges. Let us explore them together here. 绝妙的边缘展示出现在大部分代表性绘画杰作中，始于韦拉斯奎兹和哈尔斯的时代，并延续至 20 世纪初。边缘的大师们对其敏锐地意识到，并充分利用了它们的潜力。然而，如今，边缘可能是我们最不理解的工具之一。自 20 世纪 30 年代以来，除了像比尔·莫斯比这样的人的教导以及一些杰出插画家的作品外，绘画中与边缘相关的技能似乎逐渐减弱。据我所知，过去对此并没有太多长篇大论。然而，自 1998 年《Alla Prima》出版以来，我注意到人们对这一主题的兴趣增加了。我希望边缘的使用指导很快能够与绘画课程中的素描、价值和色彩平起平坐。这并不容易，也不会一蹴而就，因为边缘有一种令人难以捉摸的特性。它们的本质使其难以衡量或定义，我们对边缘的感知以及在呈现它们时的判断很大程度上是主观的。 好消息是边缘的一些特性并非随意的。然而，如果小提琴、钢琴或声乐技巧可以被教授，那么表现性的边缘也是可以的。让我们在这里一起探索它们。
LILIES oil on canvas, 百合 布面油画
DAFFODIL AND ROSES (Detail), oil on panel, 水仙和玫瑰（细节），油彩画板，
EXACTLY WHAT ARE EDGES ANYWAY? 到底边缘是什么？
Edges are the borderlines between the shapes of color we see on our subjects, and the corresponding color shapes we create on our paintings. Each color shape has at least three sides, and they fit together like nations on a map, or pieces in a puzzle. Those boundaries (edges) are designated as either relatively "hard" or "soft" in varying degrees. The hardness or softness of the edges describes the transitions between those shapes - the degree to which they are blended, or not blended at all. They can be extremely abrupt (hard or sharp edge), or very gradual (soft edge), or somewhere in-between. For those "in-between" edges, let's call them "moderate" or "intermediate." When a shape of color blends into another so gradually it is impossible to tell where one begins and the other ends, it is called a lost edge. 边缘是我们在主体上看到的颜色形状与我们在绘画上创造的相应颜色形状之间的边界线。每个颜色形状至少有三条边，它们像地图上的国家或拼图中的拼块一样拼合在一起。这些边界（边缘）被指定为在不同程度上相对“硬”或“软”。边缘的硬度或柔软度描述了这些形状之间的过渡程度 - 它们混合的程度，或者根本不混合。它们可以是极端突然的（硬或锐利的边缘），也可以是非常渐进的（软边缘），或者介于两者之间。对于那些“介于两者之间”的边缘，让我们称之为“中等”或“中间”。当一种颜色形状逐渐融入另一种颜色形状，以至于不可能分辨哪里开始哪里结束时，这被称为失去的边缘。
Unfortunately, we lack the rich vocabulary to describe edges any better. Unlike our musician friends, we labor without the technical expressions which could specify exactly how soft or hard an edge might be. All we have are a few adjectives: soft, moderate, hard (or sharp), and lost. That's about it except for words like fuzzy, hazy, blurred, firm, razor sharp, or modifiers such as very, medium, extremely, and so on - not much to choose from. Nevertheless, we shall carry on and examine three important aspects of edges: 不幸的是，我们缺乏丰富的词汇来更好地描述边缘。与我们的音乐家朋友不同，我们在没有技术术语的情况下劳作，这些术语可以准确地指定边缘有多柔软或坚硬。我们只有一些形容词：柔软、适中、坚硬（或锋利）和丢失。除了模糊、朦胧、模糊、坚实、剃刀般锋利或非常、中等、极端等修饰语之外，我们几乎没有其他选择。尽管如此，我们将继续并检查边缘的三个重要方面：
1. HOW AND WHY THEY OCCUR IN A SUBJECT. 1. 主题中它们是如何以及为什么发生的。
2. HOW TO IDENTIFY THEIR VISIBLE CHARACTERISTICS. 2. 如何识别它们的可见特征。
3. HOW TO TRANSLATE THEM INTO BRUSHSTROKES. 3. 如何将它们翻译成笔触。
THE CAUSES OF EDGES IN A SUBJECT 主题中边缘的原因
If you are new to the use of edges, or have trouble seeing them, it may help to begin by understanding how they occur. Start by looking carefully at something-anything. Look around the room where you sit reading this, look out the window, or just glance at yourself in a mirror, and you will see edges wherever any two or more visible shapes meet. Here are the main reasons they appear the way they do: 如果您对边缘的使用还不熟悉，或者难以看清它们，了解它们产生的方式可能会有所帮助。首先仔细观察某物-任何东西。看看您坐在阅读这篇文章的房间周围，看看窗外，或者只是瞥一眼镜子里的自己，您会看到任何两个或更多可见形状相遇的地方都有边缘。以下是它们呈现出现在这种方式的主要原因：
A. The inherent shape of things. Often you can expect to see soft edges on rounded objects such as anatomical features, the folds in fabrics, or a field of grass curving slowly away. Anything angular or sheared, like a sheet of paper or a stiff collar, or architectural forms, may seem sharply edged. A. 事物固有的形状。通常你会看到圆润物体上的柔和边缘，比如解剖特征、织物的褶皱，或者一片缓缓弯曲的草地。任何有角度或削平的东西，比如一张纸、一顶硬领子，或者建筑形式，可能看起来边缘分明。
B. The intrinsic ("local") value and color of things (like a yellow dress or black hat). Elements or shapes which are similar in value or color will appear to have a softer transition between them than elements which contrast, even though the real (physical) edge is hard. For example: If you place a dark blue against a dark green, their boundary will look softer than if the colors are dark blue against bright orange. B. 事物的内在（“本地”）价值和颜色（如黄色连衣裙或黑色帽子）。在价值或颜色相似的元素或形状之间，它们之间的过渡会显得比对比明显的元素更柔和，即使实际（物理）边缘是硬的。例如：如果你将深蓝色放在深绿色旁边，它们的边界看起来会比深蓝色放在明亮橙色旁边时更柔和。
C. The nature of things - what they are made of - clouds, curly blond hair, and the rear ends of ducks are likely to have softer edges than bricks or door frames. The substances of things, however, are not always a reliable guide in determining an edge. C. 事物的本质 - 它们由什么构成 - 云朵、卷曲的金发和鸭子的尾部可能比砖块或门框具有更柔和的边缘。然而，事物的物质并不总是确定边缘的可靠指南。
D. The light-how strong, or weak, or diffused it is, and the angle it is striking the subject. A single powerful light source such as the sun or a spotlight striking a subject at right angles to you will likely produce sharp edges, usually as cast shadows. On the other hand, north daylight or overcast light will yield softly diffused edges. Hard edges in diffuse light are mainly the result of something other than the light, such as the edge of a white collar against a dark suit. D. 光线的强度，弱度或扩散程度，以及照射主体的角度。像太阳或聚光灯这样的单一强光源以与您垂直的角度照射主体，通常会产生锐利的边缘，通常是作为投射的阴影。另一方面，北方的白天光线或阴天光线会产生柔和扩散的边缘。在扩散光中的硬边缘主要是光线以外的其他因素造成的，比如白色衣领与深色西装的边缘。
MOUNT MORAN (Detail), oil on canvas, 24 x 36, Jackson Hole, Wyoming, 1968 莫兰山（细节），布面油画，24 x 36，怀俄明州杰克逊霍尔，1968 年
ATLANTIC SEAS (Detail), oil on canvas, 24 x 36, Monhegan Island, Maine, 1976 大西洋海域（细节），帆布油画，24 x 36，缅因州蒙黑根岛，1976
The importance of appropriate edges in painting is clearly demonstrated in the two works above. In MOUNT MORAN (top) the bright sunlight, crisp shadows and rock formations call for an entirely different and harder set of edges than in the painting of ATLANTIC SEAS (bottom). In this the atmosphere and character of the breaking waves demands an abundant variety of soft and almost completely lost edges. One could almost imagine the artistic disaster if I had gotten the two works mixed up regarding edges. 绘画中适当的边缘的重要性在上述两幅作品中得到了清晰展示。在《莫兰山》（顶部）中，明亮的阳光、清晰的阴影和岩石构成需要一组完全不同且更加坚硬的边缘，而在《大西洋海域》（底部）的绘画中则需要丰富多样且几乎完全丢失的柔和边缘。如果我在处理边缘时把这两幅作品搞混，几乎可以想象出艺术上的灾难。
E. The atmosphere-how clear or murky it is. This is a familiar concern in landscape and marine painting, though it occasionally happens indoors as well. The clarity of the air, a clear day for example, or the lack of it, as on a foggy morning, is a strong influence on the quality of the light, and that, in turn, affects edges. Most edges in a landscape tend to soften with distance. Fog and haze, for example, dramatically subdue edges with distance, while clear air can often maintain somewhat sharper edges at long distances. This is a problem I am familiar with having lived at a high altitude in the unusually clear air in the Rocky Mountains of Colorado. Very often distant mountains and other landscape features appeared almost as close as nearby ranges. The clear thin air at the high altitude prevailed over the familiar effect of aerial perspective by greatly subduing the value changes which normally occur with distance-very annoying. John Singer Sargent complained about it too when he painted in the Canadian Rocky Mountains because he was more accustomed to the atmospheric effects of the European Alps, which receive vast amounts of humid air from the Mediterranean. I noted the same increase in values and color when I did Alpine studies in the Südtirol of Northern Italy. E. 大气氛-清晰或浑浊。这是风景和海洋绘画中常见的关注点，尽管偶尔也会发生在室内。空气的清晰度，例如晴朗的一天，或者缺乏它，如在雾蒙蒙的早晨，对光线的质量有很大影响，进而影响边缘。风景中的大多数边缘在远处往往会变得柔和。例如，雾和烟雾会大大减弱远处的边缘，而清澈的空气通常可以在远处保持较为清晰的边缘。这是我熟悉的问题，因为我生活在科罗拉多州落基山脉清澈的高海拔地区。经常看到远处的山脉和其他景观特征几乎和附近的山脉一样近。高海拔处清澈的稀薄空气大大压倒了通常随着距离发生的价值变化，这非常令人恼火。约翰·辛格·萨金特在加拿大落基山绘画时也抱怨过这一点，因为他更习惯于欧洲阿尔卑斯山的大气效应，那里接收来自地中海的大量湿润空气。 我在意大利北部的南蒂罗尔进行阿尔卑斯山研究时，也注意到数值和颜色的增加。
F. Motion. To our eyes, things blur when they move. If you paint moving things with hard edges it will look as if you copied a high-speed photograph. Ocean waves, flying birds, waterfalls, trees in the wind, and everything else that moves must be carefully studied as edge problems. I believe the subject ought to be movement itself, rather than the thing in motion - the flight of a flying bird, for example, not how pretty or authentically rendered its feathers are. Nearly all movement in nature occurs as repetitive flow. Even when things appear to change randomly and unpredictably (like cloud shapes), their movements have a pattern which can be understood. Take the time necessary to see such patterns-notice shapes which happen with predictable frequency, as in waves breaking on a shore, or streaming into rocks in a brook. Then paint them with a variety of appropriately soft and hard edges (a certain amount of experimenting is usually necessary). The result will be surprisingly convincing. F. 运动。在我们的眼中，物体在移动时会变得模糊。如果你用硬边来描绘移动的事物，它看起来就像是你复制了一张高速照片。海浪、飞鸟、瀑布、风中的树木，以及其他一切移动的事物都必须仔细研究其边缘问题。我认为主题应该是运动本身，而不是运动中的事物 - 例如飞鸟的飞行，而不是其羽毛有多漂亮或逼真。自然界几乎所有的运动都是重复的流动。即使事物看起来变化随机和不可预测（比如云朵的形状），它们的运动也有一种可以理解的模式。花时间去看这些模式-注意那些以可预测频率发生的形状，比如海浪拍打在海岸上，或是流入小溪中的岩石。然后用各种适当的软硬边来描绘它们（通常需要一定程度的尝试）。结果将会令人惊讶地令人信服。
A note of caution - there is rarely a single cause for the appearance of an edge. The way it looks in a subject is usually a combination of some factors described above. Atmosphere, light, values, colors, motion, textures and form, can intermingle in bewildering ways. It is interesting to figure out what you are looking at, but don't worry if you can't explain it. It is more important to simply recognize edges. I recognize countless everyday things and deal with them successfully without understanding them in the slightest-for example, my tax returns and the computer on which I am typing this. Seriously, as a general policy, it is a good idea to try and place the very sharpest edges in your painting within or near the focal point of a painting, because we see that way naturally. Glance around and you will see that it is impossible to focus on any one thing and still have sharp edges in your peripheral vision. 一点小心——边缘出现很少是由单一原因造成的。它在主体中的外观通常是上述一些因素的组合。气氛、光线、价值、颜色、运动、质地和形式可以以令人困惑的方式交织在一起。弄清楚你在看什么是很有趣的，但如果你解释不清楚也不要担心。更重要的是简单地认识边缘。我认识到无数日常事物并成功处理它们，而且完全不理解它们——例如，我的税单和我正在打字的电脑。严肃地说，作为一项一般政策，将绘画中最锐利的边缘放在绘画的焦点内或附近是一个好主意，因为我们自然而然地看到那样。四处看看，你会发现无法专注于任何一件事物，同时在你的周边视野中仍然有清晰的边缘。
AWARENESS OF EDGES 边缘意识
Using the information from the five points I have just described, look again at something near and familiar. The kitchen with its pots and pans is a good place (vegetables and fruits always have great edges too). The bedroom is ideal too-you can take your clothes off and check out your own edges in the mirror-or go out where you can see land and trees and a sky full of clouds (but put your clothes back on first). 利用我刚刚描述的五个要点的信息，再次看看附近熟悉的东西。厨房里的锅碗瓢盆是一个好地方（蔬菜和水果也总是有很棒的边缘）。卧室也很理想-你可以脱掉衣服，在镜子里检查自己的边缘，或者出去看看陆地、树木和满天的云（但先把衣服穿回去）。
Select some individual things, then ask yourself these questions to help you understand what you are seeing: 选择一些个别的事物，然后问自己以下问题，以帮助你理解你所看到的东西：
Is the edge of the shape you are looking at curving away from you or toward you? 你正在看的形状的边缘是朝向你弯曲还是远离你？
Is the curve, if there is one, smooth and gradual or abrupt? Is the color shape you are looking at the same color or value as adjacent shapes, or is it a different color and value? 曲线（如果有的话）是平滑渐变的还是突然的？您正在观察的颜色形状与相邻形状的颜色或价值相同，还是不同的颜色和价值？
Are you looking at something hard to simplify, things unclear or complex, like clouds, hair, or myriad tree branches and tall grass in the wind - or is it something geometric with sharp angles such as buildings or rock formations? 你是在看一些难以简化的东西吗？是一些模糊或复杂的事物，像云、头发，或是风中无数的树枝和高草？还是一些有着锐利角度的几何图形，比如建筑物或岩石构造？
Are your shapes in snappy bright sunlight, or are they back in the dim shadows? 你的形状是在明亮的阳光下，还是回到昏暗的阴影中？
Are you in subdued north daylight or overcast with no cast shadows? 你是在昏暗的北方白昼还是阴天没有投影？
In the landscape, is it foggy out or clear? Does the clarity of the air decrease or increase with distance? 在景观中，是雾蒙蒙还是清晰明朗？空气的透明度随着距离的增加而减少还是增加？
Answering questions like these will go a long way toward identifying the edges on the things you wish to paint, but don't go overboard with analysis. All you really need is the ability to spot edges as hard or soft or something in between. Figuring out the cause of an edge does come in handy when you find yourself in the occasional predicament of not being able to make up your mind about an edge. However, it is not essential to have a rational explanation to paint it convincingly. For example, if you recognize a soft edge, that's really all the information you need! It isn't necessary to know why it is soft. Just paint it the way it looks! Besides (and this is important), understanding the causes of edges is not enough. You must also be able to determine their relationships - how hard or soft they are compared to one another. 回答这类问题将有助于识别您希望绘制的物体边缘，但不要过度分析。您真正需要的是能够发现边缘是硬的、软的还是介于两者之间的能力。当您发现自己偶尔无法确定边缘时，弄清楚边缘的原因确实会派上用场。然而，为了能够有说服力地绘制，并不一定需要有一个理性的解释。例如，如果您认识到一个软边缘，那么这已经是您所需要的所有信息了！并不需要知道为什么它是软的。只需按照它的样子绘制！此外（这一点很重要），了解边缘的原因还不够。您还必须能够确定它们之间的关系 - 它们相互之间的硬度或软度如何。
SEEING EDGES SELECTIVELY-LEARNING TO STEP BACK, SQUINT, AND COMPARE 有选择性地看边缘-学会退后一步，眯起眼睛，比较
Seeing edges requires the same two important aids-squinting and comparison-which I described in the previous chapter on Values. They are essential in working with edges, and I find it is best to do them together. Let me dwell on squinting first. Read what follows next very carefully. This is hard stuff to write about. 看到边缘需要相同的两个重要辅助手段——眯眼和比较——这两个我在前一章关于价值观中描述过的。它们在处理边缘时至关重要，我发现最好一起进行。让我先详细谈谈眯眼。非常仔细地阅读接下来的内容。这是很难写的东西。
Squinting applies to seeing both edges and values in a remarkably similar way, though it does tend to work a little better with values. Closing your eyes slightly when looking at your subject to simplify will give you equivalent information about both. Just as you half-closed your eyes to determine the lightest light, the darkest darks, and the ranking of middle values, so too will squinting help you to see which edges are sharpest, which are softest, and which fall into a middle range. It allows you to see where things blend the most, where they stand out distinctly, and the pecking order of all the remaining edges. It is an amazingly simple and effective technique. The aim is to obtain an orderly grasp of the edges in your subject. That means you will get practical information - the evaluations you need to paint your picture-rather than just seeing a dark fuzzy image of your subject. 眯眼的方法适用于以非常相似的方式看到边缘和价值，尽管它在价值方面的效果稍微更好。在看待主题时稍微闭上眼睛以简化，将为您提供有关两者的等效信息。就像您半闭眼睛来确定最轻的光，最暗的暗色和中间值的排名一样，眯眼也将帮助您看到哪些边缘最锐利，哪些最柔和，哪些属于中间范围。它让您看到事物混合最多的地方，哪些地方显著突出，以及所有其他边缘的排序。这是一种非常简单而有效的技术。目标是有序地掌握主题的边缘。这意味着您将获得实用信息 - 您绘制图片所需的评估，而不仅仅是看到主题的模糊暗影像。
Doing it proficiently takes concentration, but it's worth any effort to get good at it. Try practicing it at first with a typical subject, something with lots of high contrast elements. It's easier too when you're just starting out with this to get the hang of it with a well-lit subject instead of practicing on something low-keyed and subtle. Outdoors on a sunny day in your backyard or looking down your street is a good place for starters. It isn't necessary to paint. Just pour yourself a glass of iced tea (nothing stronger, if you please), sit down, and notice some specific things. 熟练地做这件事需要专注，但努力学习是值得的。首先尝试用一个典型的主题练习，选择一些具有高对比元素的东西。刚开始时，选择一个光线充足的主题练习会更容易些，而不是在一些低调和微妙的东西上练习。在户外的阳光明媚的日子里，可以在后院或街道上练习是一个不错的开始。不一定要绘画。只需倒一杯冰茶（请不要喝更烈的酒精饮料），坐下来，留意一些具体的事物。
Begin with your eyes wide open. See how sharply focused everything is, and how much detail there is. Notice how the longer you look at one particular spot, more and more details emerge. Notice too how you see many color and value changes, and how all edges appear clear and crisp the more you look directly at them. If your eyesight is good, you probably can now see more sharp edges and itsy-bitsy detail than you would ever want to paint. 从睁大眼睛开始。看看一切是多么清晰，有多少细节。注意越久盯着一个特定的地方看，越会发现更多细节。也注意到你看到许多颜色和价值的变化，以及所有边缘在你直视时显得清晰而锐利。如果你的视力很好，你现在可能能看到比你想要绘画的更多锐利的边缘和微小的细节。
Now close your eyes just a tiny fraction. Note that some detail diminishes, some values and colors merge, and some edges begin to lose a bit of clarity. (The first edges to disappear completely will be the soft transitions in the subject.) You are now beginning to simplify your subject. 现在请将眼睛闭上一点点。注意到一些细节减弱了，一些价值和颜色融合在一起，一些边缘开始失去一点清晰度。（首先完全消失的边缘将是主题中的柔和过渡。）您现在开始简化您的主题。
At this point you need to be particularly alert. Notice exactly which details diminish and which values and colors blend into larger shapes. See how many of the tiny clear edges you could see with your eyes wide open now begin to join to form larger softer edges. Make note too of the things which do NOT change very much as you squint. See which shapes and edges retain their integrity. Those will be your stronger sharper-edged elements. 此刻，您需要格外警觉。准确注意哪些细节减弱，哪些价值和颜色融入更大的形状中。看看有多少微小清晰的边缘您现在睁大眼睛可以看到开始汇聚形成更大更柔和的边缘。还要注意当您眯起眼睛时哪些东西变化不大。看看哪些形状和边缘保持其完整性。那些将是您更强烈、更锐利边缘的元素。
YORKSHIRE CHURCHYARD 约克郡教堂墓地
oil on panel, 油彩画板，
This is the only painting of mine I have ever copied. It was promised for a one-man show, but I was so fond of it, I did a larger version for the exhibition-slightly cooler and minus the iron gate. I felt the differences would avoid any future confusion. 这是我唯一一幅复制过的画作。它原本是为一场个展而准备的，但我太喜欢它了，于是为展览做了一个更大的版本，略微冷静一些，去掉了铁门。我觉得这些差异可以避免以后的混淆。
I kept this original version because it touched me in a way few other of my paintings ever do, primarily because Nancy is the main subject, and secondly, I caught the hushed English light, which I also love. 我保留了这个原始版本，因为它以一种少有的方式触动了我，主要是因为南希是主题，其次，我捕捉到了那种我也喜爱的安静的英国光线。
I also managed to capture, after many tries, the elusive green color of the grass peculiar to the British Isles and other places, such as our Pacific Northwest and Alaska. In this case, the mixture turned out to be mainly Viridian, Yellow Ochre light, and White, with a bit of Cadmium Yellow in places. 我经过多次尝试，终于成功捕捉到了英国群岛和其他地方独特的草地绿色，比如我们太平洋西北地区和阿拉斯加。在这种情况下，混合物主要是翠绿色、黄土轻和白色，有些地方还加入了少量的镉黄色。
This little sketch may bring to mind some of the works of the 19th Century Naturalist painters, such as Bastien-Lepage, Jean Dagnan-Bouveret and others. I'm not a fan of the storytelling so characteristic of their output, but I felt I had matched something of their technical effects, and perhaps taken them a step further regarding edges. 这幅小速写可能让人联想到 19 世纪自然主义画家的一些作品，比如巴斯蒂安-勒帕日（Bastien-Lepage）、让·达尼昂-布韦雷（Jean Dagnan-Bouveret）等人。我并不喜欢他们作品中那种充满特色的叙事，但我觉得我已经达到了他们的一些技术效果，并且也许在边缘方面更进了一步。
It is possible the Naturalists' often heavy reliance on photographs accounts for their more conservative renderings when it came down to ways of putting paint on canvas. I have long felt the beauty of paint itself should be an important part of a work, which is why I was pleased to capture what I feel is a more painterly effect, especially in the trees and sky. 自然主义者经常过分依赖照片，这可能解释了当涉及在画布上涂抹颜料时，他们更保守的表现方式。我长期以来一直觉得颜料本身的美丽应该是作品的重要组成部分，这就是为什么我很高兴能捕捉到我认为更具绘画效果的部分，尤其是在树木和天空中。
The interplay of hard and soft transitions, along with the rich (middle-toned) color harmony, also added a mood so dreamlike I almost thought Nancy might slowly vanish before my eyes. 硬和软过渡的相互作用，以及丰富的（中调）色彩和谐，也增添了一种如梦幻般的情绪，我几乎以为南希可能会在我眼前慢慢消失。
Good! Close your eyes a bit more and see how things simplify even more. (Sounds like the last chapter, doesn't it?) Note how the strong shapes now tend to dominate and absorb smaller shapes. See how edges within dark value areas tend to be much softer than edges in the higher contrast light areas, and how detail tends to disappear altogether in the darkest darks. The very last discernible edge you see before your eyes shut will probably be the sharpest edge of all. It will also be the lightest light. (See where I'm going here?) 好！再闭上你的眼睛，看看事物如何变得更简单。（听起来像最后一章，是吧？）注意到强烈的形状现在往往会主导并吸收较小的形状。看看在暗色值区域内的边缘往往比高对比度的明亮区域中的边缘要柔和得多，以及细节在最黑暗的地方往往会完全消失。在你闭上眼睛之前看到的最后一个可辨认的边缘可能会是所有边缘中最锐利的。它也将是最轻的光。（看出我在这里的意思了吗？）
What I have described is an orderly and effective way of simplifying. It is orderly because you can close your eyes down just a bit at a time, noting how edges appear at each stage. It is effective because you learn something you can express as brushstrokes, and that is precisely what you are after. So, here is a little myth you can shatter at cocktail parties-when we painters look at things, we do not see more than other people, we see less. We do not see beauty where others cannot, but we do have the ability to stop the stream of time, to eliminate trivia, and thus understand why things look the way they do. In doing so we can concentrate a viewer's attention on the fascination of the purely visual. We can simplify things and arrest them at any moment of their happening. 我所描述的是一种有序且有效的简化方式。它是有序的，因为你可以逐渐闭上眼睛，注意每个阶段边缘的出现。它是有效的，因为你学会了可以用笔触表达的东西，这正是你追求的。所以，在这里有一个小神话，你可以在鸡尾酒会上打破——当我们画家看东西时，我们并不比其他人看得更多，我们看得更少。我们并不是在别人看不到美的地方看到美，而是我们有能力停止时间的流动，消除琐事，从而理解事物看起来为什么这样。这样做，我们可以集中观众的注意力在纯粹视觉的魅力上。我们可以简化事物，并在它们发生的任何时刻停止它们。
Let me repeat-squinting is not helpful in determining color, but it works like magic in seeing edges. Once you get the hang of it, you will use it to see edges and values simultaneously. Just don't squint down to the point where your image is so dark and blurred it is useless. 让我重申-眯眼并不能帮助确定颜色，但在看到边缘时却像魔法一样有效。一旦掌握了这种技巧，你将会用它来同时观察边缘和价值。只是不要眯眼到让图像变得太暗和模糊而毫无用处的地步。
Lastly, it only works marginally when working with photographs. Squinting at a photo is about the same as squinting at a painting. Everything gets fuzzy. Squinting for values in a photo is sometimes useful, but because of the limited data caught by the camera, the information you can obtain is inadequate compared to the real thing. 最后，当处理照片时，它的效果仅有限。盯着照片看与盯着一幅画看差不多。一切都变得模糊。在照片中寻找价值有时是有用的，但由于相机捕捉到的数据有限，你能获取的信息与实物相比是不足的。
COMPARISON 比较
Some edges in every subject will stand out conspicuously as either extremely sharp or completely lost even with your eyes wide open. You can't miss them (clouds, for example). Use those edges as your standards of comparison. Let us say you are looking at what you think is a hard edge, but you don't know how hard. Well, if you have already selected a razor-sharp edge in the subject as your hardest, you only need to compare the edge in question to that edge to see the difference. The same holds true, of course, for soft edges. Pick one you are sure of to be your standard of comparison, and use it to judge the relative softness of others. 每个主题中都会有一些边缘明显突出，要么极其锐利，要么完全消失，即使你睁大眼睛也看不到。你不会错过它们（比如云）。将这些边缘作为你的比较标准。假设你正在看一个你认为是硬边缘的东西，但你不知道有多硬。如果你已经选定了主题中一个剃刀般锋利的边缘作为最硬的，你只需要将问题中的边缘与那个边缘进行比较，就能看出差异。当然，对于柔和的边缘也是如此。选择一个你确信是标准的柔和边缘，用它来判断其他边缘的相对柔软程度。
As you become aware of edges, you will discover their close tie to values. Their interrelationship stems from the fact that they arise mutually. They often happen together from the same circumstances and operate as a sort of feedback system. Values and edges reciprocate in the ways they influence each other, just as values and colors do. 当您意识到边缘时，您会发现它们与价值观之间的密切联系。它们的相互关系源于它们相互产生的事实。它们经常在相同的情况下同时发生，并作为一种反馈系统运作。价值观和边缘在它们相互影响的方式上相互回应，就像价值观和颜色一样。
It is amazing and beautiful how this works-how all elements in the visual field are unavoidably interconnected like the Net of Indra so well described by Joseph Campbell in The Power of Myth (Doubleday 1988). The Net is an infinite mythical web with precious stones at every intersection of its threads so each gem reflects all the others, symbolizing the universal connection of everything. In the same way, everything visible looks the way it does because of everything else visible acting upon it. 这是令人惊叹和美丽的，这是如何运作的-视觉领域中的所有元素不可避免地相互联系，就像约瑟夫·坎贝尔在《神话的力量》（Doubleday 1988）中所描述的因陀罗网一样。这个网是一个无限的神话般的网络，在其线索的每个交汇点都有珍贵的宝石，因此每颗宝石都反映出其他所有宝石，象征着一切事物的普遍联系。同样，所有可见的事物之所以呈现出其样貌，是因为其他所有可见的事物对其产生影响。
Shapes with similarities in color or value will appear to have soft edges connecting them, and shapes with dissimilar properties will seem to have harder edges-even when the actual (physical) edge is the same. For example, two adjacent shapes (or brushstrokes) of similar value will appear to have a soft edge between them because the value difference is small. Conversely, the illusion of a hard edge is likely when you bring together shapes which contrast sharply in value or color-as when you join a deep blue-purple shape with a very light yellow-orange shape. Intrinsically soft things like clouds at sunset can often appear to have less than soft edges because of the bright sky behind them. So we now see that a very soft or lost edge between contrasting values and colors can tend to diminish the value difference between them, while a hard edge between similar values and colors can exaggerate their difference. Thus, edges can make values look the way they do-and values can make edges look the way they do. I like that. 颜色或价值相似的形状会呈现出连接它们的软边，而具有不同特性的形状则会呈现出硬边，即使实际（物理）边缘相同。例如，两个相邻的价值相似的形状（或笔触）之间会出现软边，因为价值差异很小。相反，当你将价值或颜色明显对比的形状放在一起时，例如将深蓝紫色形状与非常浅的黄橙色形状相连接时，硬边的错觉很可能会出现。像日落时的云这样固有柔软的东西通常会因为背后的明亮天空而呈现出不太柔软的边缘。因此，我们现在看到，对比价值和颜色之间非常柔软或模糊的边缘可能会减弱它们之间的价值差异，而对比相似价值和颜色之间的硬边可能会夸大它们之间的差异。因此，边缘可以使价值看起来如何，而价值可以使边缘看起来如何。我喜欢这一点。
The size of a shape in itself can determine how light or dark things will look even if they are the same intrinsic value-a large black mass of trees is blacker than a little black bush, and so on. The same is true of color. A whole wall painted red is "redder" than a small drop of the same paint. In my painting Study in Red (opposite), the red on the model's lower lip is identical to the red on her blouse, yet the blouse seems far more red. This saturation effect of large value or color areas is partly a psychological anomaly. I would add the smaller shape will also have softer edges, and the smaller things get, the more their edges soften. 形状的大小本身可以决定事物看起来是如何轻或暗，即使它们具有相同的内在价值-一大片黑色的树比一小丛黑灌木更黑，依此类推。颜色也是如此。整面涂成红色的墙比同样颜料的一小滴“更红”。在我的绘画《红色研究》（对面），模特下唇上的红色与她衬衫上的红色完全相同，然而衬衫看起来更红。这种大面积价值或颜色的饱和效应在一定程度上是一种心理异常。我想补充说，较小的形状也会有较柔和的边缘，而且物体越小，边缘就越柔和。
While these observations are obviously valid and good to know, in practice other factors can often intervene. Things like the angle of the light, reflected light, the material composition of the subject and its three-dimensional configuration, to name just a few. (There are many others.) Nature is so full of tricks, there is no reliable way to contrive a formula which applies in all circumstances. In the end, only your own well-trained eye is reliable. 尽管这些观察显然是有效的并且值得知道，但在实践中，其他因素经常会介入。诸如光线的角度、反射光、主体的材料组成以及其三维配置等因素，仅举几例（还有许多其他因素）。大自然充满了各种技巧，没有可靠的方法可以设计出适用于所有情况的公式。最终，只有您自己训练有素的眼睛是可靠的。
Natural phenomena will also affect both values and edges (and color as well). Fog or mist or light intensity will influence values, edges, and color simultaneously, or even a single change in one will change the others. For example, a change in value will always mean a consequent change in color (because you must use another color to lighten or darken something), and that will create a change in the edge. You have to be ready for anything! 自然现象也会影响价值和边缘（以及颜色）。 雾气、薄雾或光强度会同时影响价值、边缘和颜色，甚至一个方面的变化都会改变其他方面。 例如，价值的变化总是意味着颜色的相应变化（因为您必须使用另一种颜色来使某物变亮或变暗），这将导致边缘的变化。 你必须随时做好准备！
Unfortunately, there are no set rules about edges. Like naughty little boys, they behave as they wish and enjoy teasing. What appears in one situation may not occur in another. There are too many variables (including your own eyesight) to allow for solid predictability. However, it is extremely helpful to know how these natural illusions (that's what they are) do happen. So be on the lookout and just accept them. After all, your job is to create a picture of the way things look to you. If you try to clarify things for your viewer based solely upon what the rules say ought to be there, your painting will not look like your subject does. I strongly recommend painting an edge as it APPEARS, regardless of anything else you know about it. 不幸的是，边缘没有固定的规则。就像调皮的小男孩一样，它们随心所欲，喜欢戏弄。在一个情况中出现的东西可能在另一个情况中不会发生。有太多的变量（包括你自己的视力）不允许有确定的可预测性。然而，了解这些自然幻觉（就是它们的本质）是非常有帮助的。所以保持警惕，接受它们。毕竟，你的工作是根据你的看法创造一个图像。如果你试图仅仅根据规则应该存在的东西来为观众澄清事物，你的绘画看起来就不会像你的主题那样。我强烈建议根据边缘的外观来绘画，而不管你对它了解多少。
One school of thought in the early part of the 20th century was definitely not in favor of softening edges. One well-known spokesmen warned against softening anything-edges in particular. I'm not sure why such an idea happened. It certainly wasn't ignorance, or lack of experience in painting from life. Most likely the practice of painting clear-cut edges no-matter-what arose because of the perceived importance in those days (as it is often today) of being recognized for having a strong style. Consequently, natural effects were often altered to fit an artist's misplaced need for stylistic technique. 20 世纪早期的一派思潮绝对不赞成软化边缘。一位著名的代言人警告说不要软化任何东西，尤其是边缘。我不确定为什么会有这样的想法。这肯定不是因为无知，或者缺乏从生活中绘画的经验。很可能，无论如何都要绘制清晰边缘的做法是因为在那个时代（就像今天一样）被认为具有强烈风格的重要性。因此，自然效果经常被改变以适应艺术家对风格技巧的错误需求。
The rejection of obviously varied edges could also have arisen from the brief popularity of palette knife painting at the time-a technique which almost naturally produced hard edges. Knife painting in general was rather heavy-handed and usually applied thickly, like stucco, unlike the more sophisticated and subtle technique of the contemporaneous Russian school. The Russians viewed the knife as a tool of great expressive potential, instead of a kind of small trowel to plaster pigments on canvas. Nicolai Fechin's early work contains many examples of virtuoso knife painting. 显然变化边缘的拒绝也可能源自当时铲刀绘画的短暂流行，这种技术几乎自然地产生了硬边缘。总的来说，铲刀绘画相当粗犷，通常涂抹得很厚，像灰泥一样，不像同时代俄罗斯学派更加复杂和微妙的技术。俄罗斯人将铲刀视为具有极大表现潜力的工具，而不是一种在画布上涂抹颜料的小泥刀。尼古拉·费钦的早期作品中有许多精湛的铲刀绘画示例。
A more widespread reason for not blending was probably the trend to use incremental color transitions at edges-several small color changes applied side by side to show a change of form. No doubt that was the influence of Impressionism, because it was the practice then to favor small, distinct, color graduations over blending. The influence of the Impressionists continued full-tilt long after the charter group disappeared. (The original French movement lasted a mere 20 years or so.) 不混合的一个更普遍的原因可能是倾向于在边缘使用渐变颜色过渡的趋势 - 将几种小颜色变化并排应用以显示形式的变化。毫无疑问，这受到印象派的影响，因为当时的惯例是偏爱小而明显的颜色渐变而非混合。印象派的影响在创始团体消失后仍然持续不减。 （原始的法国运动仅持续了短短 20 年左右。）
Others might have been reacting to what they considered to be the misuse of blending-the feathering or fusing of colors to achieve more softly graduated edges. Some regarded blending as leading to superficial overblending. (The word feathering, or to feather, presumably originated from the old practice of using the large wing feathers of geese as blending tools.) At any rate, and for whatever reason, there arose simultaneously one school, the "brush men," such as Boldini, Zorn, and Sargent, with their very long, fluidly sexy brushing techniques, and a separate group, the "colorists," who would not dream of applying more than a half-inch of paint without changing the color-your basic broken color enthusiasts. The most uptight of them was Georges Seurat. 其他人可能对他们认为的混合使用不当做出了反应 - 羽化或融合颜色以实现更柔和的渐变边缘。一些人认为混合会导致表面过度混合。 （“羽化”一词，或者说“羽化”，据推测源自使用大雁的大翅膀羽毛作为混合工具的古老做法。）无论出于何种原因，同时出现了一派“画笔大师”，如博尔迪尼、佐恩和萨金特，他们采用非常长、流畅而性感的刷涂技术；以及一个独立的群体，“色彩派”，他们梦想着在不改变颜色的情况下涂抹超过半英寸的油漆 - 你基本的破碎色彩爱好者。其中最拘谨的是乔治·修拉。
So we now see once again how a very soft or lost edge between contrasting values and colors can tend to diminish the value difference between them, while a hard edge between similar values and colors can exaggerate their difference. Thus, edges can make values look the way they do - and values can make edges look the way they do. I like that, but it's not always easy to see. 因此，我们现在再次看到，对比值和颜色之间非常柔和或模糊的边缘可能会减弱它们之间的价值差异，而相似值和颜色之间的硬边缘可能会夸大它们之间的差异。因此，边缘可以使值看起来如其所为 - 值也可以使边缘看起来如其所为。我喜欢这一点，但并不总是容易看到。
No doubt it is good to intellectually analyze and understand what we see, but I have found that squinting down and using comparison is still the easiest and best way to make decisions about edges both in my subjects and my paintings. I realize I must seem to go on endlessly about stepping back, squinting, and comparing, but those three little practices are essential to seeing, and they always lead to simple, elegant results. 毫无疑问，对所见进行理性分析和理解是很好的，但我发现眯起眼睛并进行比较仍然是在我的主题和绘画中做决定的最简单和最好的方法。我意识到我似乎总是在不断地强调后退、眯眼和比较，但这三种小习惯对于观察是至关重要的，它们总是会带来简单、优雅的结果。
It is not difficult to develop an awareness of the light conditions around you. For me, mornings have a completely different mood than evenings. They even smell different. Dark rainy days are dramatically different than bright sunny days. Those are obvious examples of extremes. As painters we must cultivate a sensitivity to those days, as well as the less extreme conditions we will find ourselves working under. 发展对周围光线条件的意识并不困难。对我来说，早晨与晚上有完全不同的情绪。它们甚至有不同的气味。阴暗多雨的日子与明亮晴朗的日子截然不同。这些都是极端的明显例子。作为画家，我们必须培养对这些日子的敏感度，以及我们将在其中工作的不那么极端的条件。
I recommend painting an edge as it looks on a subject, regardless of anything else you know about it, unless of course you have a good reason to do things differently. To me, a very good reason for any change in a painting is that I just like it better that way. 我建议按照主题上的样子绘制边缘，不管你对它了解多少，除非你有充分的理由做出不同的处理。对我来说，对画面进行任何改变的一个非常好的理由就是我更喜欢那种方式。
OTHER "WHYS" OF MANY TYPES OF EDGES AND VALUES 许多类型的边缘和价值的其他“为什么”
As landscape painting developed, many painters became aware of the effect of light diffraction on edges and values. What is diffraction? It is the fact that light can bend slightly at an object's edge. If you take two objects of the same value (let's say black), one rounded, like a vase, and the other angular, like a piece of cardboard, and look at them against a light source (such as the sky or a window), the rounded one will have softer edges, and the angular one will be hard edged. 随着风景画的发展，许多画家开始意识到光的衍射对边缘和价值的影响。什么是衍射？这是光线在物体边缘可以轻微弯曲的事实。如果你拿两个价值相同的物体（比如黑色），一个是圆形的，比如花瓶，另一个是角形的，比如一块硬纸板，然后将它们放在光源（比如天空或窗户）的背景下观察，圆形的物体会有柔和的边缘，而角形的则会有硬边缘。
Likewise, if you do the same test with two more shapes, but of the same value, and one very much larger than the other, the smaller one will look lighter. In both instances this happens because of diffraction - light bending and spilling around the edges of shapes - in this case much more light spilling around in ratio to an object's size and curvature in the smaller one than in the larger one. For example, a pointed church steeple will appear progressively lighter as you gaze from its wide base to its narrowing peak. 同样，如果您用两种价值相同但大小差异很大的形状进行相同的测试，较小的形状看起来会更轻。在这两种情况下都是因为衍射现象发生 - 光线弯曲并在形状的边缘周围溢出 - 在这种情况下，相比较较大的形状，较小的形状周围会有更多的光线溢出。例如，一个尖顶的教堂尖塔会在您从宽阔的基座向狭窄的顶峰凝视时逐渐显得更轻。
This phenomenon is perfectly shown on the page opposite-notice how light is spilling around the vase from the window behind it. It also strikes the model's left shoulder and neck, highlighting the anatomy. 这种现象在对面的页面上表现得淋漓尽致 - 注意窗后的光线如何洒落在花瓶周围。它还照射到模特的左肩和颈部，突出了解剖结构。
STANDING FIGURE oil on panel, 立体图油画作品，
STANDING FIGURE (Detail) 站立人物（细节）
This painting shows a variety of light effects. My model is standing close to the corner of a room in which there are two windows providing natural daylight (cool light-warm shadows). The window behind her has caused the model's upper torso to appear almost in silhouette, while the area of her hips is mostly illuminated by the side window. The bottom half of the painting is softly shaded. With such a setup, diffraction of light and diffusion of light throughout the painting are mixing, resulting in a fascinating play of soft color, light, and edges. Trying to figure out, much less analyze, the situation is quite hopeless for me. Instead, I rely solely upon painting what I see, whether or not I understand it intellectually. 这幅画展示了各种光影效果。我的模特站在房间的角落附近，房间里有两扇窗户提供自然光（凉爽的光线-温暖的阴影）。她身后的窗户使模特的上半身几乎呈现剪影，而臀部区域大部分被侧面的窗户照亮。画作的下半部分被柔和地遮蔽着。在这样的布景下，光的衍射和扩散贯穿整幅画，混合出迷人的柔和色彩、光线和边缘。试图理解这种情况，更不用说分析，对我来说是相当绝望的。相反，我完全依靠绘画我所看到的，无论我是否在智力上理解。
To smoosh the paint around or not to smoosh-that is the question! (Forgive me, Dear Bard.) Whether 'tis nobler in the mind or better in a painting to blend edges, ah! To soften them as a sparrow's touchdown, or to paint small increments of color changes? It comes down to a matter of personal taste. Monet lived and breathed color changes; Zorn preferred the broad brush style with voluptuous edges on equally voluptuous ladies. Both created marvelous paintings. We all have our ways, thank God. In the end, what really matters is achieving our intended effects. How we get there is of no importance. Only the result counts. Personally I like to have as many options as possible, and I would not rule out anything if it works. What follows here is some of what works. 将颜料涂抹或不涂抹-这是个问题！（原谅我，亲爱的巴德。）在头脑中更高尚还是在画作中更好地混合边缘，啊！是像麻雀轻轻着陆那样软化它们，还是绘制颜色变化的小部分？这取决于个人口味。莫奈生活在色彩变化中；宗恩更喜欢宽刷风格，画出同样丰腴的女士们。两位都创作了奇妙的画作。感谢上帝，我们都有自己的方式。最重要的是实现我们想要的效果。我们如何达到目标并不重要。只有结果才重要。就我个人而言，我喜欢尽可能多的选择，并且如果有效，我不会排除任何可能性。以下是一些有效的方法。
CREATING EDGES IN A PAINTING 在绘画中创造边缘
How can paint be manipulated so it duplicates the look of the edges you see in your subject? Physically, there are really only three ways I know of. 如何才能操控颜料，使其复制出你所看到的主体边缘的外观？从物理上讲，我只知道三种方法。
By degrees of blending (soft edges), or refraining from blending (hard). 逐渐混合（软边缘），或者避免混合（硬边缘）。
By mixing and applying intermediate colors instead of blending. 通过混合和应用中间色而不是混合。
Applying intermediate colors and blending them (carefully). 应用中间色调并进行混合（小心翼翼地）。
BLENDING 混合
This is familiar to everyone who works with oil paint. (Watercolorists blend too, of course, but in entirely different ways.) You find out how easy it is to do right away. It is one of the most appealing characteristics of the medium. Usually it is done by mixing edges together with a clean dry brush while the paint is still wet. These wet-into-wet edges can be produced with your brush, your fingers, a rag, a palette knife, or anything else that does the job. The best way to learn is to experiment until you get a "feel" for how paint behaves and what your tools can do. There is no right way or wrong way to do it; there is only the method that works the way you want it to. Just avoid overly thick paint until you get the hang of it. 这对每个使用油画的人来说都很熟悉。（当然，水彩画家也会混合颜色，但方式完全不同。）你会立刻发现这是多么容易做到。这是这种媒介最吸引人的特点之一。通常是在颜料还湿的时候，用干净的干刷子混合边缘。这些湿入湿的边缘可以用刷子、手指、抹布、调色刀或其他任何能完成工作的工具来制作。学习的最佳方式是不断尝试，直到你对颜料的行为以及你的工具能做什么有了“感觉”。没有正确或错误的方法；只有按照你想要的方式运作的方法。在掌握之前，尽量避免使用过厚的颜料。
CREATING EDGES WITH INTERMEDIATE COLORS 使用中间色创建边缘
The few strict colorists among the Impressionists, such as Mary Cassatt and Renoir, were not the first to recognize that boundaries (edges) between shapes of color also had color changes within those edges, but they certainly latched on to it. In particular they showed us how much color there really is in reality to take advantage of. They used distinct graduations of color to soften edges, rather than merging shapes with the swipe of a brush as brushmen like Sargent and Zorn did. This is certainly no criticism here of their blending technique. 印象派画家中少数严格的色彩主义者，如玛丽·卡萨特和雷诺阿，并不是第一个意识到形状之间的边界（边缘）也有颜色变化的人，但他们确实抓住了这一点。特别是他们向我们展示了现实中有多少颜色可以利用。他们使用明显的颜色渐变来软化边缘，而不是像萨金特和佐恩这样的画家用刷子一划就将形状融合在一起。这绝对不是对他们混合技术的批评。
Blending after all involves changes of color as well. They are much smaller and more gradual changes. (Besides, the brush enthusiasts were pursuing something else). The Impressionists realized that by adding the element of color changes to the qualities of hardness and softness in edges, it enhanced the overall brilliance of their paintings. Edges can be rich in color changes, no doubt about it. If you want a dramatic demonstration, stand outside during a sunset and witness the color changes occurring as the sun goes over the horizon and the edge of the earth's shadow overtakes you. In twenty minutes or so colors in the landscape around you can change from bright yellow orange, to red, to deep blue and violet. This same transition of colors can happen on a smaller scale as light moves into shadow on the edges of your subjects. 混合毕竟也涉及到颜色的变化。这些变化要小得多，更加渐进。（此外，画笔爱好者们追求的是另一种东西）。印象派画家意识到，通过将颜色变化的元素添加到边缘硬度和柔软度的特质中，可以增强他们画作的整体光彩。边缘可以富含颜色变化，毫无疑问。如果你想要一个引人注目的演示，站在日落时分的户外，目睹太阳越过地平线，地球阴影的边缘笼罩你时发生的颜色变化。大约二十分钟左右，你周围的景色颜色可以从明亮的橙黄色变成红色，再到深蓝色和紫罗兰色。当光线进入主体的阴影边缘时，同样的颜色过渡也会发生在较小的尺度上。
SUSAN LYON 苏珊·里昂
oil on canvas, 帆布油画，
Palette & Chisel, Chicago, 1989 调色板与凿刀，芝加哥，1989
I remember every moment of painting Sue Lyon. At the time we were all much younger and Sue had not yet developed into the fine painter she is today. Painting this along with Nancy, Rose Frantzen, and Scott Burdick (later Susan's husband), was an extraordinary experience. I was in my third term as President of The Palette and Chisel. 我记得每一个画苏·里昂的时刻。那时我们都年轻得多，苏还没有成为今天这样优秀的画家。和南希、罗斯·弗兰岑、斯科特·伯迪克（后来成为苏珊的丈夫）一起画这幅画是一次非凡的经历。那时我是调色板和凿刀协会的第三任会长。
Nancy, Rose, and Scott were becoming very accomplished, not to mention impassioned in their work. They were all so very determined and dedicated, and I loved working with them. 南希、罗斯和斯科特在工作中变得非常有造诣，更不用说他们的热情了。他们都非常坚定和专注，我很喜欢和他们一起工作。
When Sue posed for us with her flowing blonde hair and soft features, she was a perfect study in edges, which the group was most interested in at the time (except perhaps for Scotty, who had a slightly different interest in her edges than the rest of us). 当苏与我们摆姿势时，她那飘逸的金发和柔和的面容，成为了我们研究边缘的完美对象，当时大家对此格外感兴趣（也许除了斯科蒂，他对她的边缘有着与我们其他人略有不同的兴趣）。
I realized I had to capture the quality of her hair as simply and directly as possible in my block-in. If you could see the original (which is in my collection), you would notice her hair is entirely rendered in the transparent paint of my block-in. The rest of the painting is almost a library of possible edges executed in both opaque and transparent paint. In those days each study I did with my friends Nancy, Rose, and Scott were experiments. This work of Sue has always been my favorite. 我意识到我必须尽可能简单直接地捕捉她头发的质感在我的布局中。如果你能看到原作品（在我的收藏中），你会注意到她的头发完全是用我布局中透明的油漆呈现的。绘画的其余部分几乎是一个可能边缘的图书馆，用不透明和透明的油漆执行。在那些日子里，我和我的朋友南希、罗斯和斯科特一起做的每一次研究都是实验。苏的这幅作品一直是我最喜欢的。
Please bear in mind the amount of color in edges does depend on the values and the character of the things you are painting. For example, two brightly colored shapes meeting to form an edge will probably have a more colorful edge than two dull colored shapes. Only paint the color changes you actually see for yourself, and even then try not to overdo it. I know these ideas and observations can seem complicated, but we are talking about painting the real world. 请记住，边缘的颜色量确实取决于您绘画的事物的价值和特性。例如，两个明亮的形状相遇形成边缘时，边缘可能比两个暗淡的形状更丰富多彩。只绘制您自己真正看到的颜色变化，即使这样，也尽量不要过火。我知道这些想法和观察可能看起来复杂，但我们谈论的是绘画真实世界。
I like color changes in edges, but I don't restrict myself to any one method to make edges. It doesn't make sense to avoid using other means that might suit my purpose better. Just remaining within a consistent technique is not enough reason. Instead, I look to my subject and how I wish to render it for clues about how to deal with an edge. I find it expedient to choose either gradations of color or blending, according to the effect I'm after. Often I'm able to combine both methods (as Sorolla did so well) by doing an edge first as tiny color changes, then merging them delicately with a single slow careful stroke with a clean brush. (Soft as a whisper, if you please), and I use a pliable sable or badger brush. The trick is to lay in the color changes with a minimum of paint (but never thinned) and resist the temptation to over-blend-one slow careful sleek brushstroke can do the job nicely. 我喜欢边缘的色彩变化，但我不局限于任何一种方法来处理边缘。避免使用其他更适合我的目的的手段是没有意义的。仅仅坚持一种一贯的技术并不足够。相反，我会根据主题以及我希望如何呈现它来处理边缘。根据我想要的效果，我发现选择颜色渐变或混合是方便的。通常我能够结合这两种方法（就像 Sorolla 做得那么好），先将边缘处理为微小的色彩变化，然后用干净的刷子轻柔地将它们融合在一起，以一种缓慢而细致的笔触（如同轻声细语一般），我使用柔软的貂毛或獾毛刷。诀窍在于用尽量少的颜料涂抹颜色变化（但不要稀释），抵制过度混合的诱惑——一次缓慢而细致的笔触可以很好地完成工作。
Portraits and figure studies are especially rich in color changes on edges. They present splendid opportunities for combining broken color with blending. The pigmentation and semitransparent nature of human skin combine with light to create delicate (and surprising) tonalities when local colors change at the same point where anatomical forms turn. For example, there is often a sudden warming of color on the bridge of a nose as the form plunges into shadow. Often, a modest change in form alone will produce a color change. In north daylight, an edge can abruptly take on a blue tinge as it turns into the direction of the light. Such pearls are not to be wasted by ignoring them. I look for those opportunities and use them whenever I feel they are important to my painting. Unfortunately, the time restrictions inherent in Direct Painting seldom allow me to develop all the colors I see. However, the other effects that arise are well worth it. 肖像和人物研究在边缘的色彩变化方面尤为丰富。它们提供了绝佳的机会，将破碎的色彩与渐变相结合。人类皮肤的颜料和半透明特性与光线相结合，当局部颜色在解剖形态转折的同一点发生变化时，创造出精致（和令人惊讶的）色调。例如，当形态陷入阴影时，鼻梁上的颜色常常会突然变暖。通常，仅仅对形态进行适度的改变就会产生颜色变化。在北方的白昼中，边缘在转向光线方向时可能会突然呈现蓝色的色调。这些珍珠不应被忽视而浪费。我寻找这些机会，并在我觉得对我的绘画重要时利用它们。不幸的是，直接绘画固有的时间限制很少让我展现出所有我看到的颜色。然而，产生的其他效果是非常值得的。
BE SENSIBLE 理性一点
Regardless of your medium or technique, don't get carried away with blended edges. Few things weaken a work more than indiscriminate blending. I am sure you have seen those dainty fan-shaped brushes called "blenders," usually made from sable, badger, or squirrel hair. They were used widely in the 19th century when blending was carried to absurd extremes in the fashionable Salon paintings. Blender brushes are not intended to be used as other brushes - to apply paint in a normal brushing motion. Rather, a blender is meant to be held perpendicular over adjacent areas of wet paint, and then lightly tapped up and down with a slight side to side motion. In this way tiny bits of paint are picked up on the delicate ends of the hairs and redeposited, creating a feathery soft edge as smooth as glass. 无论您使用的媒介或技术如何，都不要过分迷恋混合边缘。很少有什么东西比不加选择地混合更能削弱作品。我相信您一定见过那些被称为“搅拌器”的精致扇形刷子，通常由貂、獾或松鼠毛制成。它们在 19 世纪被广泛使用，当时在时尚的沙龙绘画中，混合被推向荒谬的极端。搅拌器刷子并不打算像其他刷子一样使用 - 以正常的刷涂动作涂抹颜料。相反，搅拌器应该垂直地放在湿漆相邻区域上，然后轻轻地上下轻拍，并带有轻微的左右移动。通过这种方式，颜料的微小颗粒会被吸附在毛发的细端上，然后重新沉积，形成一种如玻璃般柔软的羽毛状边缘。
The use of a blender brush is handy to know, but I don't recommend it as a regular practice. My personal preference is to deliberately brandish the richness of paint by maintaining the bold freshness of my brushstrokes rather than peck at them with the blender. I like to do a "painterly" painting instead of something resembling a big glossy photograph. 使用搅拌刷是一个方便的技巧，但我不建议经常使用。我个人更喜欢通过保持刷触的大胆新鲜感来有意识地展示油漆的丰富度，而不是用搅拌刷来点缀它们。我喜欢做一幅“画家式”的画，而不是类似于一张光滑的大照片。
YUKON WATERFALL 育空瀑布
oil on canvas, 帆布油画，
Alaska, 1992 阿拉斯加，1992 年
It is difficult, if not impossible, to paint a waterfall successfully without an understanding of edges. A waterfall is movement, and movement means change, which, in turn, means an interplay of a range of hard and soft edges. 要成功地描绘瀑布，如果没有对边缘的理解，那将是困难的，甚至是不可能的。瀑布是运动，而运动意味着变化，而变化又意味着一系列硬边和软边的相互作用。
The way a high-speed camera freezes action might be nice for catching the agony in a football halfback's face on impact, or a bullet shattering a melon, but it isn't the way we see things and it is definitely not a good way to follow if you wish to paint moving water convincingly. 高速相机冻结动作的方式可能适合捕捉橄榄球后卫脸上受伤的痛苦表情，或子弹击碎西瓜的场景，但这并不是我们看事物的方式，也绝对不是希望逼真地描绘流动水的好方法。
We humans cannot stop things that are flying in mid-air, and see them in perfect detail. Nor will it do to simply paint moving things as just a lot of fuzziness. If I had done that here, the waterfall would look like fog or cotton fluff or downy feathers going over a cliff. 我们人类无法停止在半空中飞行的事物，并以完美细节看待它们。简单地将移动的事物描绘成一团模糊是不够的。如果我在这里这样做了，瀑布看起来会像雾气、棉絮或绒毛羽毛从悬崖上飘落。
It is none of those things; it is falling water, bouncing off rocks, and strewing into a variety of recurring patterns as it descends. It was up to me to study those various shapes and patterns with their characteristic edges, and then replicate them with paint. 它不是那些东西之一；它是落水，弹跳着石头，随着下降而散落成各种重复的图案。由我来研究那些不同的形状和图案，带有它们特有的边缘，然后用颜料复制它们。
In striking contrast to the movement of the water, is the powerful non-movement of the massive rock formations. These called for a variety of harder edges and a sort of medley of edges where the rocks and water met. The trunks of the trees above called for harder edges as well, but not all of them. Trees disappearing into the forest required softer and darker edges as they joined together into the background. 与水的流动形成鲜明对比的是巨大岩石的强大静止。这些需要更多硬边缘和岩石与水相遇处的边缘混合。树木的主干也需要更硬的边缘，但并非所有。消失在森林中的树木需要更柔和和更深的边缘，因为它们融入背景。
EDGES IN OTHER MEDIUMS 其他媒介中的边缘
A well-executed watercolor is a genuine tour de force. I have nothing but humble admiration for anyone who can do it consistently and without compromising the subject to accommodate the demands of the medium. Controlling edges in watercolor can be tricky, even maddening (for me). Oil paint is duck soup by comparison. My nerves will stand up to doing only a few watercolors each year. (And they invariably end up looking like my oil paintings!) 一幅精湛的水彩画是一种真正的技艺展示。我对那些能够始终如一地做到这一点，而不为了迎合媒介的要求而牺牲主题的人，只能怀着谦卑的敬意。在水彩画中控制边缘可能会很棘手，甚至令人发狂（对我来说）。相比之下，油画简直易如反掌。我的神经只能承受每年做几幅水彩画。 （而它们最终总是看起来像我的油画！）
In watercolor, the physical working surface of the paper is constantly fluctuating due to water absorption and evaporation. Consequently, the probability of accident is very high. A skillful watercolorist is one who knows how wet the paper is, which way the color is running, and how fast it will dry so it will stop in just the right spot. Nerves of steel and some luck are helpful. 在水彩画中，纸张的物理工作表面由于吸水和蒸发而不断波动。因此，意外发生的可能性非常高。 一个熟练的水彩画家是那种知道纸张有多湿，颜色流动的方向以及它会多快干燥，以便在恰到好处的位置停下来的人。 钢铁般的神经和一些运气是有帮助的。
I believe the real skill involved in watercolor painting lies in deliberately producing authentic edges while retaining the delicate transparent character of the medium. My experience with watercolor has taught me the right paper is one of the essential factors, because everything depends upon keeping the paint in a manipulative state for as long as possible. I recommend working with a paper that retains moisture and resists staining-one which allows for removal of colors without damaging its surface. "Hot or Hard Pressed" papers are best if you make many corrections. 我相信水彩画中真正的技巧在于刻意产生真实的边缘，同时保留媒介的细腻透明特性。我的水彩经验告诉我，选择正确的纸张是其中一个关键因素，因为一切都取决于尽可能长时间地保持颜料处于可操控状态。我建议使用保持湿润且抗渗透的纸张，这种纸张可以让你在不损坏表面的情况下去除颜色。如果你需要进行多次更正，最好选择“热压”或“硬压”纸张。
Pastel offers no real impediments to creating edges. If anything, soft edges can happen too easily. Try to resist the impulse to habitually blend with your fingers. It can quickly lead to muddy color and a loss of the pastel "look." Once you have lost it, the only course is to start over with a fresh sheet of paper. The very nature of pastel allows for only a very limited amount of application before your paper loses its "tooth," and the crispness of the medium is lost. When it happens, the usual result is a downhill slide into a tediously overworked appearance. Like watercolor, the quality of the working surface is critical. If any one medium cries for the broken color approach, this is it. Get it right on the first try and leave it alone. 粉彩不会对创造边缘造成真正的障碍。如果有的话，软边缘可能会太容易出现。尽量抵制用手指习惯性地混合的冲动。这很快会导致颜色浑浊，失去粉彩的“外观”。一旦失去了它，唯一的选择就是用一张新纸重新开始。粉彩的特性使得在纸张失去“齿”之前只能进行非常有限的涂抹，媒介的清晰度也会丧失。当这种情况发生时，通常的结果是逐渐过度劳累，呈现出令人厌烦的外观。像水彩一样，工作表面的质量至关重要。如果有任何一种媒介需要打破色彩的方法，那就是粉彩。第一次就做对，然后不要再动它。
CREATING FRESH LOOKING EDGES IN A DRIED PAINTING 在干燥的绘画中创造出焕然一新的边缘
If it is necessary to work with edges (or anything else) on a painting already dry, and only minor touch-up work is needed, the easiest options to try first are dry brush or scumbling applications. Dry brush is very lightly dragging a loaded brush held at a low angle across your canvas. The idea is to deposit paint on the painting's textured surface creating a ragged effect, without covering it entirely. Scumbling is using a lightly loaded brush to gently scrub paint thinly across a surface, also without covering it entirely. If you are matching the color of any existing dried paint, remember, pigments darken slightly as they dry. This is most noticeable in lighter values where white is used, so mix your new paint slightly lighter. 如果需要在已经干燥的画作上处理边缘（或其他部分），并且只需要进行轻微修补工作，最简单的尝试选项是先尝试干刷或拂晕的应用。干刷是轻轻地拖动一个负载的刷子，以较低的角度横跨你的画布。其目的是在画作的纹理表面上沉积颜料，创造出一种凌乱的效果，而不是完全覆盖它。拂晕是使用轻轻负载的刷子轻轻地在表面上薄薄涂抹颜料，同样也不完全覆盖它。如果要匹配任何现有干燥颜料的颜色，请记住，颜料在干燥时会略微变暗。这在使用白色的较浅色值中最为明显，因此请将新颜料稍微调浅。
GIVING A FLUID WET-INTO-WET LOOK TO LARGE WORKS 赋予大型作品流动湿入湿的外观
When doing work that needs a lot more than just touch-up, creating edges with the appearance of wet-in-wet on a dried or partially dried painting calls for special, but not particularly unusual, measures. Not all works can be completed in one unbroken session. Large works can take weeks or months, and most paintings (alla prima or not) can usually do with a bit of correction or fine tuning anyway, especially after you have shown your portrait of Aunt Tilly to the relatives and they pointed out that Tilly was never quite that cross-eyed. 在进行需要远不止简单修饰的工作时，在干燥或部分干燥的画作上创造出湿中湿的外观边缘需要特殊的，但并不是特别不寻常的措施。并非所有作品都能在一个不间断的会话中完成。大型作品可能需要数周甚至数月的时间，而大多数绘画（无论是一次成形还是不是）通常都需要一些修正或微调，尤其是在您向亲戚展示了您对 Tilly 阿姨的肖像后，他们指出 Tilly 从未那么斜视。
When it is necessary to work into a dry picture and the target area is small, I like the shortcut of a light spray of retouch varnish, and then painting into the sprayed area while the varnish is still wet. If I am working on something larger that might take several days of working with the probability of drying in between, I do my finishing work as I go along and then use a palette knife to carefully and slowly scrape the edges of areas I wish to continue later (wiping my knife clean with each short stroke of the knife), leaving only a very thin paint layer where I leave off. Then I apply fresh paint to those scraped areas at the beginning of the next working session. That way I am always working into wet paint. Scraping also lets me avoid a troublesome buildup of paint. 在需要在干燥的画面上工作且目标区域较小时，我喜欢使用轻轻喷洒修复清漆的捷径，然后在清漆仍然湿润时绘画到喷洒区域。如果我正在处理较大的作品，可能需要几天的工作时间，有可能在中间会干燥，我会在进行工作的同时完成最后的工作，然后使用调色刀仔细慢慢地刮去我希望稍后继续的区域的边缘（每次刮刀的短划都要用干净的抹布擦拭刀刃），只留下非常薄的油漆层。然后在下一个工作阶段开始时在这些刮过的区域上涂上新油漆。这样我总是在湿油漆上工作。刮除也让我避免了油漆的麻烦积聚。
I'm convinced this was how Sorolla, Zorn, and others were able to do their large works while still having them look as if they were done wet-into-wet. Many unfinished works (such as those I examined in Sorolla's Madrid studio) show this clearly. However, they all had occasion to repaint areas in pictures that had been finished for some time and thoroughly dried. For example, in Sargent's Madame X, Sorolla's La Siesta, and many landscapes by Monet, whole areas of their initially dried brushwork are still quite evident (revealing what they were trying to conceal), even where they have used thick overpainting. If you ever have a problem with dried, thickly textured brushstrokes you wish to overpaint, try scraping them flat with a canvas scraper (also called a doctor blade), or just use sandpaper (carefully). Learn from the Masters' mistakes! Get it right the first time! 我相信这就是 Sorolla、Zorn 和其他画家能够完成他们的大作品，同时看起来像是湿湿地完成的方式。许多未完成的作品（比如我在 Sorolla 的马德里工作室里看到的那些）清楚地展示了这一点。然而，他们都有机会重新涂抹一些已经完成并彻底干燥了一段时间的画作中的区域。例如，在 Sargent 的《Madame X》、Sorolla 的《午睡》以及 Monet 的许多风景画中，他们最初干燥的画笔作品的整个区域仍然非常明显（揭示了他们试图掩盖的东西），即使他们使用了厚重的上色。如果你遇到想要重新涂抹的干燥、厚重质感的画笔笔触问题，可以尝试用画布刮刀（也称为医生刀）将其刮平，或者小心使用砂纸。向大师们的错误学习！第一次就做对！
FINAL TIPS 最后建议
The vast majority of edges in any subject will fall into an intermediate range between razor hard and blurry softness. Keep this in mind as you work. In our ordinary everyday seeing we are not usually conscious of super-hard edges in our peripheral vision, which is why they seem unreal when simply scattered throughout a painting. We are aware of hard edges at or near the point we focus on. Paint the hard edges located at the borders of your subject less conspicuously. One safe way is to hold your strongest edge in reserve until you are dead sure you know where you want it. It's always comforting to have one final emergency shot for just the right moment. 任何主题中绝大多数的边缘都会落在剃刀般锐利和模糊柔和之间的中间范围。在工作时请记住这一点。在我们日常的视觉中，我们通常不会意识到我们周围视野中的超硬边缘，这就是为什么当它们简单地散布在绘画中时，它们看起来不真实。我们意识到我们专注的焦点附近或附近的硬边缘。绘制位于主题边缘的硬边缘时要尽量不显眼。一个安全的方法是将最强的边缘保留，直到你确信自己知道它应该在哪里。在恰当的时刻拥有一次最后的紧急射击总是令人安心的。
However, if you do see the hard edge you want, and you need it in the early stages of a work, go for it and get it over with. When you do paint it, don't be shy. I like to lay it on with a palette knife or "loaded" brush (plenty of paint), and I do it with a very slow deliberate no-nonsense stroke. If it looks right, I don't go back and fool with it. If I fail to apply it the way I intended, I scrape it off and do it again. In any case, I do it in one stroke-but I do it very carefully. If I mess with it using additional strokes, I will weaken it. 然而，如果你看到你想要的硬边，并且你需要它在作品的早期阶段，那就去做吧，一次性完成。当你涂抹时，不要害羞。我喜欢用调色刀或“沾满颜料”的刷子（颜料多）涂抹，我会用缓慢而有目的的笔触。如果看起来正确，我就不会再回头去摆弄它。如果我没有按照预期的方式涂抹，我会刮掉重新涂。无论如何，我会一笔完成，但我会非常小心。如果我用额外的笔触摆弄它，我会削弱它。
Another safe tip-avoid painting thickly while you are manipulating edges. Paint is much easier to control in moderate to thin (but not thinned with medium) layers. Save the heavy stuff for later stages-after you have finished correcting and dealt with your difficult problems. 另一个安全的技巧是，在处理边缘时避免涂抹过厚。在适度到薄（但不要用介质稀释）的涂层中，油漆更容易控制。将较厚的涂料留到后期阶段，等你完成校正并处理了困难问题之后再使用。
The optical and psychological effects of edges are fascinating. As your skill with them increases, your grasp of their elegance will become more sophisticated and demanding (in a good way because you will be seeing more possibilities). One of my more intriguing pursuits is to achieve an integration of edges throughout an entire painting-composing them in such a way they cooperate not only with the color harmony and value system, but also with my compositional motif to form an overall symmetry. It certainly can be done, and it occurs in painting more often than you might think. (Certain 19th- and 20th-century American painters such as Frank Duveneck, Elizabeth Sparhawk-Jones, Thomas Dewing, Howard Pyle, Bernard Fuchs, and Sherrie McGraw among others, all elevated it to a high art in the maturity of their careers. About the same time in Europe, superb edge techniques were also developed by Mancini in Italy, Degas in France, and Serov in Russia.) 边缘的光学和心理效应令人着迷。随着你对它们的技巧增长，你对它们的优雅理解将变得更加复杂和苛刻（这是一种好的方式，因为你会看到更多可能性）。我更加有趣的追求之一是在整幅画中实现边缘的整合 - 将它们组合在一起，不仅与色彩和价值体系协调，还与我的构图主题合作，形成整体对称。这当然是可以做到的，而且在绘画中发生的频率比你想象的要高。（19 世纪和 20 世纪的美国画家，如弗兰克·杜文内克、伊丽莎白·斯帕霍克-琼斯、托马斯·杜因、霍华德·派尔、伯纳德·富克斯和雪莉·麦格劳等人，在他们职业生涯的成熟阶段将其提升为一种高尚的艺术。在同一时期的欧洲，意大利的曼奇尼、法国的德加和俄罗斯的谢罗夫也发展出了出色的边缘技术。）
This symmetry I seek is a hierarchy of edges working with the design elements within a painting. The aim is to generate dominant and subordinate edges that act to reinforce my compositional intent-forcing a viewer's concentration on a single focal point (without being vulgar of course). Mozart would certainly have tried for this if he had been a painter. Such an integration is the way we naturally see things anyway, yet it is anything but easy in painting. I have reached this goal in a few of my recent paintings, and come close in others. I mention this merely to whet your appetite should you become as captivated as I am by edges as expressive devices. However, I cannot expand on the idea here beyond simply mentioning it as something to be pursued, because I am still exploring the feasibility of it myself. Writing more will have to wait for a future book. Besides, what we have examined together here should keep you in good cheer. 我追求的对称性是边缘的等级体系，与绘画中的设计元素相互配合。目的是产生主导和次要的边缘，以加强我的构图意图 - 强迫观众集中注意力在一个单一的焦点上（当然不能粗俗）。莫扎特肯定会尝试这样做，如果他是一位画家的话。这样的整合是我们自然看待事物的方式，但在绘画中却一点也不容易。我在最近的一些作品中达到了这个目标，并在其他作品中也接近了。我提到这一点只是为了激起你的兴趣，如果你像我一样被边缘作为表现手段所吸引。然而，我无法在这里进一步展开这个想法，只能简单提及它作为一个值得追求的东西，因为我仍在探索它的可行性。更多的文字将等待未来的一本书。此外，我们在这里一起探讨的内容应该让你感到愉快。
THE ALTAR watercolor on paper, 18 x 25, St. Peter's Basilica, Rome, 1967 祭坛 水彩纸上，18 x 25，罗马圣彼得大教堂，1967
Achieving edges in watercolor, or more specifically, controlling edges, is quite different in watercolor than it is in oil painting. There are two factors: the paper surface, and the degree of moisture in it. When I do a watercolor I use a very fine atomizer, similar to those used for perfume, to keep the areas on the paper I am working on fairly damp so the colors I apply will spread slightly to give the soft effects you see in the picture above. The caution here was not to overdo the soft edges too much and retain a nice balance between hard and soft edges. 在水彩画中实现边缘，或更具体地说，控制边缘，与油画中的情况大不相同。有两个因素：纸面和其中的湿度程度。在我做水彩画时，我使用一个非常精细的喷雾器，类似于香水使用的那种，以保持我正在工作的纸面上的区域相当潮湿，这样我涂抹的颜色会稍微扩散，从而产生您在上面看到的柔和效果。这里需要注意的是不要过度强调柔和的边缘，并保持硬边缘和柔软边缘之间的良好平衡。
"I am black but comely...Behold, thou art fair; thou hast doves eyes...let me see thy countenance... Thy lips are like a thread of scarlet... 我虽黑，却俊美…看哪，你美丽；你有鸽子的眼睛…让我看看你的容颜… 你的嘴唇好像红线…
Thou art beautiful O my love...Thine head upon thee is Carmel, and the hair of thine head like purple...Thou art all fair, my love; there is no spot in thee." 你是美丽的，我的爱人...你的头如迦密，头发如紫色...你全然美丽，我的爱人；在你身上毫无瑕疵。
-from The Song of Solomon -来自《雅歌》
Apart from their metaphorical intent, these few excerpted words (forgive me) from the Bible demonstrate the remarkable power of color even used only as words. What images in our minds they create! Imagine the eloquent voice you have with a full, rich, palette, and your ability to use actual color! 除了它们隐喻的意图外，这几句从《圣经》中摘录的话展示了色彩即使仅仅作为文字也具有非凡的力量。它们在我们脑海中创造了怎样的形象！想象一下，如果你拥有一个丰富多彩的调色板，以及运用实际颜色的能力，你会拥有多么雄辩的声音！
Nature is the supreme colorist. She loves to play with it in every possible way, which is a good thing for us. Just imagine what it would be like if we were all the same color. What a dreary bore! (And what would all the bigots and racists do for their warped fun?) How splendid that Mother Nature has given us, her creatures, such extraordinary and diverse pigmentation. We should rejoice that we are each different. Each of us is one of her little color masterpieces. 大自然是至高无上的调色师。她喜欢以各种可能的方式玩弄颜色，这对我们来说是件好事。想象一下，如果我们都是同一种颜色会是什么样子。多么沉闷无趣啊！（那些偏执狭隘的人会如何寻找他们扭曲的乐趣呢？）多么辉煌，母亲大自然赋予我们这些生物如此非凡而多样化的色素。我们应该为我们的不同而欢欣鼓舞。我们每个人都是她的一个小色彩杰作。
How lucky we are as painters to have the tools to portray another soul... "fair as the moon, clear as the sun, and (beautiful) as an army with banners." 作为画家，我们有幸拥有描绘另一个灵魂的工具...“皎洁如月亮，明亮如太阳，（美丽）如戴旗帜的军队。”
NANETTE oil on canvas, NANETTE 油彩画布，
CHAPTER SEVEN-COLOR AND LIGHT 第七章-色彩与光线
Color is to seeing what flavor is to eating. It is by far the most sensuous element of the visual field, and for many artists, its allure is the sole reason to paint. Yet as remarkable as color is, many art students and accomplished painters alike claim it as their number one problem in working from life. (In my years of teaching and working with painters at all skill levels, however, I found drawing to be the greatest problem.) Whatever the case, "Getting the color right" is probably the source of more concern to artists than anything else in painting. Color, moreover, is more difficult to teach than all other technical aspects of painting. Why should this be so? What is it that makes working with color sometimes seem to be such an effort? (It needn't be, but let's assume for the moment that it is.) One answer is its behavior is not well enough understood even by experts to resolve it into a coherent and predictable system with a lot of rules and recipes for success. Some of the confusion stems from its very nature, especially its vast complexity, and the way we experience it. Other problems we may have with color are more or less self-inflicted, or to put it more accurately, were inflicted upon us as the result of various simplistic ideas about it we received as we were growing up (the socialization process). 颜色对于视觉的意义，就如同风味对于进食的意义一样。它是视觉领域中最具感官魅力的元素，对许多艺术家来说，它的吸引力是绘画的唯一原因。然而，尽管颜色如此引人注目，许多艺术学生和成就卓著的画家都声称在现实生活中工作时，颜色是他们的头号难题。（然而，在我多年的教学和与各种技能水平的画家合作中，我发现绘画中最大的问题是绘画。）无论如何，“把颜色搞对”可能是艺术家们比绘画中的任何其他事情更关心的问题。此外，颜色比绘画的所有其他技术方面更难教授。为什么会这样呢？是什么让与颜色一起工作有时看起来如此费力呢？（虽然不必如此，但让我们暂时假设是这样。）一个答案是，即使是专家也没有足够了解其行为，无法将其解决为一个连贯且可预测的系统，其中包含许多成功的规则和配方。一些混乱源于其本质，尤其是其巨大的复杂性以及我们体验它的方式。 我们可能在颜色方面遇到的其他问题多少是自找的，或者更准确地说，是由于我们在成长过程中接受到的关于颜色的各种简单化观念而强加给我们的（社会化过程的结果）。
GOOD NEWS 好消息
Smile now! The actuality of color is not about theoretical optics. It is an everyday real human experience! It is present in our dreams and waking hours. We are immersed in it the moment our eyes pop open each morning. Short of death, we cannot escape it, but even then no one knows for sure. Color is omnipresent, so much so most people probably take it for granted most of the time and fail to feel gratitude. Perhaps only those who have known color and suffered blindness understand what a loss a world devoid of color is. So, as you are squeezing out paint on your palette, pause for a moment and give thanks. Remember, even though it may sometimes be puzzling, more than enough is known about color to grasp it in a lucid way and use it to make beautiful paintings. 现在微笑！颜色的实际并不是关于理论光学。它是日常真实的人类体验！它存在于我们的梦境和清醒时刻。我们每天早晨睁开眼睛的那一刻就沉浸其中。除非死亡，否则我们无法逃脱，但即使如此，也没有人确切知道。颜色是无处不在的，大多数人可能大部分时间都认为它理所当然，并未感恩。也许只有那些了解颜色并遭受失明之苦的人才明白一个没有颜色的世界是多么的损失。所以，当你在调色板上挤出颜料时，停下来片刻，感恩吧。记住，尽管有时可能令人困惑，但关于颜色的了解已经足够清晰，可以用它来创作出美丽的画作。
In this discussion, I outline what I know about the general characteristics of color, some underlying challenges, and then ways to enjoy it and make it sparkle in your paintings. Please read what I have to say in this first section carefully because it is extremely important to know, but don't be intimidated. What comes after is fascinating information along with some useful instruction. 在这个讨论中，我概述了我对颜色的一般特征的了解，一些潜在的挑战，以及如何享受它并使其在您的绘画中闪耀。请仔细阅读我在这个第一部分中要说的内容，因为了解这一点非常重要，但不要感到害怕。接下来是一些迷人的信息以及一些有用的指导。
THE COMPLEXITY OF COLOR 颜色的复杂性
Consider the awesome number of colors and color combinations around us. Researchers claim the human eye can detect at least ten million hues. (I wonder who counted them.) And that is only a fraction of the spectrum! Who knows, if we humans continue to evolve, our human eyes may someday see in the infrared and ultraviolet ranges. God was indeed lavish when She created light and color. Fortunately, most of our paintings involve surprisingly few of those millions of colors, perhaps a few hundred at most, but that is still a lot-more than enough to contend with when the goal is to get each one "right." 考虑一下我们周围令人惊叹的颜色和颜色组合的数量。研究人员声称人类眼睛可以检测至少一千万种色调。（我想知道是谁数过它们。）而这只是光谱的一小部分！谁知道，如果我们人类继续进化，我们的眼睛也许有一天可以看到红外线和紫外线范围。当她创造光和颜色时，上帝确实是慷慨的。幸运的是，我们大多数的绘画作品只涉及那些数以百万计的颜色中的惊人少部分，最多可能只有几百种，但这仍然是很多——当目标是使每一种颜色“正确”时，这已经足够了。
LOCAL COLORS 本地色彩
Local color is the term for the color references used in ordinary conversation. We speak of the red of red roses, the greens in green grass, blue eyes, yellow wheat, purple dress, black hat, orange pumpkin, and so on. These are the colors of things caused by their Pigmentation. Pigment particles are microscopic size substances that absorb certain wavelengths of light and reflect others. Also, there is a certain lack of pigmentation to contend with in various transparent substances such as glass, water, clouds, and the earth's atmosphere, causing them to take on the colors of other sources. Transparent matter acts optically, often behaving as a prism, a lens, a mirror, a filter, or a combination of those things, in producing color effects. 本地色是指日常对话中使用的颜色参考。我们谈论红玫瑰的红色，绿草地中的绿色，蓝眼睛，黄小麦，紫色连衣裙，黑色帽子，橙色南瓜等等。这些是由它们的色素引起的事物的颜色。色素颗粒是一种微观尺寸的物质，吸收某些波长的光并反射其他波长的光。此外，透明物质中存在一定程度的缺乏色素，如玻璃、水、云和地球大气层，导致它们呈现出其他来源的颜色。透明物质在光学上起作用，通常表现为棱镜、透镜、镜子、滤光片或这些物体的组合，产生颜色效果。
The six squares of color combinations above demonstrate clearly the influence of surrounding colors on any given color. The given color in the small squares is a mixture of Cadmium Orange and Cadmium Yellow Deep. That color is exactly the same for all the center patches in the squares. Not only do the small orange squares appear different in value from one image to the next, but some also seem to be different hues of orange, particularly in the bottom row. Note that the stronger the surrounding color, the more it influences the center orange color. If these six examples were to be seen under a significantly warmer or cooler light, all the colors would look different than they do now. 上面的六个颜色组合方块清楚地展示了周围颜色对任何给定颜色的影响。小方块中的给定颜色是氧化镉橙和氧化镉深黄的混合物。所有方块中心区域的颜色都完全相同。不仅小橙色方块在不同图像中的色值看起来不同，而且有些在底部一排中似乎是不同色调的橙色。请注意，周围颜色越浓烈，就越影响中心橙色。如果这六个示例在明显更温暖或更凉爽的光线下被观察，所有颜色看起来都会与现在不同。
THE RELATIVITY OF COLOR 色彩的相对性
A more enchanting and most profound property of color is its RELATIVITY, the fact that a color can appear different under different circumstances. The color of something looks the way it does because of variables, each influencing the other like a very complex but interesting ménage à trois. They are: 颜色更迷人和更深刻的特性是它的相对性，即颜色在不同情况下可能呈现不同的外观。某物的颜色之所以呈现特定的样子，是因为 个变量的影响，彼此相互影响，就像一个非常复杂但有趣的三人关系。它们包括：
(1) THE INFLUENCE OF SURROUNDING COLORS: For example, the color of your face appears different when you wear a green shirt than when you wear a red one. White surrounded by black looks brighter than white surrounded by light gray. Gray looks cooler against a red background than against a dark blue one, and so on. No color can exist alone. It is always seen on a surrounding background of one or more colors, and those colors make the color in question look the way it does. (1) 周围颜色的影响：例如，当您穿绿色衬衫时，您的脸部颜色看起来与穿红色衬衫时不同。白色被黑色包围时比被浅灰色包围时看起来更亮。灰色在红色背景下看起来比在深蓝色背景下更凉爽，依此类推。没有颜色可以独立存在。它总是出现在一个或多个颜色的周围背景上，而这些颜色使所讨论的颜色看起来如此。
(2) THE AMBIENT LIGHT ILLUMINATING A SUBJECT: You look different in sunlight than in artificial light, or overcast light, or firelight. (Under Mercury or Sodium Vapor street lighting you'll look like you're dead.) (2) 照亮主体的环境光：在阳光下，你看起来与在人工光、阴天光或火光下看起来不同。（在汞灯或钠蒸汽街灯下，你看起来就像死了一样。）
PLEASE REMEMBER THIS—THE COLOR OF ANYTHING CHANGES ITS APPEARANCE (WHAT IT LOOKS LIKE) WHEN EITHER THE CHANGES, OR ITS SURROUNDING COLORS CHANGE. (See facing page.) 请记住这一点 - 任何东西的颜色在光线改变或周围颜色改变时都会改变外观（看起来是什么样）。 （见对面页。）
In this way, colors seem to behave as mischievously as those impish particles in Quantum Physics - even the way you look at them seems to make them change. Colors are slippery devils indeed, with a logic all their own and a definite reluctance to be pinned down or precisely systematized. (Ah yes, but they're not smarter than we are!) 以这种方式，颜色似乎像量子物理学中的顽皮粒子一样调皮 - 甚至你看待它们的方式似乎会让它们改变。颜色确实是难以捉摸的恶魔，有着自己的逻辑，明显不愿被固定或精确系统化。（啊是的，但它们并不比我们聪明！）
THE LIMITATIONS OF LANGUAGE IN DESCRIBING COLOR 描述颜色时语言的局限性
Our color perception is a very intricate mix of pure sensation and emotional response, which is why trying to describe our individual (subjective) experience of it using only words is difficult (but not impossibly so). Color technicians don't even bother with words anymore. They use numbers instead. Nice for them I guess, but calling Cadmium Orange ED872d-R93-G53-B18 is more than I can deal with at my stage in life. Also I'm not about to tell my Nancy when I kiss her in the morning that her lips are very R100-G41-B71 today. So you see, talking or writing about color can sometimes be as risky as trying to pin down other sensations, such as flavors, smells, lyrical sounds, or being in love. Art can often be the only way to express such things, but learning it isn't always easy. The subtlety and range of our senses and feelings are so great that when we speak or write about them we soon run out of nouns and adjectives. Our visual experiences often far exceed the descriptive capacity of verbal language. Imagine trying to describe or differentiate those ten million hues I mentioned! So bear with me as I occasionally grope for words in this examination of color. 我们对颜色的感知是纯粹感觉和情感反应的复杂混合，这就是为什么仅用文字来描述我们个人（主观）的体验是困难的（但并非不可能）。颜色技术人员甚至不再费心用文字。他们改用数字。对他们来说很好，但对我来说，在我生命中的这个阶段，称氧化镉橙 ED872d-R93-G53-B18 远远超出了我的能力范围。而且我不打算在早晨亲吻南希时告诉她，她的嘴唇今天是 R100-G41-B71。因此，你看，谈论或写作关于颜色有时可能像试图确定其他感觉（如口味、气味、抒情声音或恋爱）一样危险。艺术往往是表达这些事物的唯一方式，但学习它并不总是容易的。我们的感官和情感的微妙性和范围是如此之大，以至于当我们谈论或写下它们时，我们很快就用尽了名词和形容词。我们的视觉体验往往远远超出了语言的描述能力。想象一下试图描述或区分我提到的那一千万种色调！所以请原谅我在这次对颜色的探讨中偶尔为措辞而苦苦摸索。
THE SUBJECTIVE NATURE OF COLOR PERCEPTION 颜色感知的主观性
Because we experience colors as mental perceptions, they can often trigger elaborate memory associations, causing us to respond to them in curiously subjective ways. Some of our color affinities are so deeply internalized, they emerge as strong emotions. In this respect colors often resemble smells. The same color (or fragrance) can stimulate different things in different people. Blue might be scary to me but pleasantly exciting to you. White may mean purity and cleanliness to some, but it might evoke the desolation of winter in others. Colors do not in themselves cause specific psychological associations. We do. We create those feelings in our minds because we experience color through the filter of our individual life experiences. Perfect sanity does not exist, at least not in everyone else. 由于我们将颜色视为心理感知，它们常常会触发复杂的记忆联想，导致我们以奇特的主观方式对其做出反应。我们对某些颜色的亲近是如此深入内心，它们会表现为强烈的情感。在这方面，颜色经常类似于气味。同一种颜色（或香味）可能会在不同的人身上激发不同的感受。蓝色对我来说可能是可怕的，但对你来说可能是令人愉快的刺激。白色可能意味着纯洁和清洁，但对一些人来说，它可能唤起冬季的荒凉之感。颜色本身并不会引起特定的心理联想。我们会。我们在心中创造这些感受，因为我们通过个人生活经历的滤镜体验颜色。完美的理智并不存在，至少不是在每个人身上。
Cultural notions also influence our color preferences. Red, for example, is quite nice on a lady's lips but not on her nose (at least not in today's society). In Victorian times it was fashionable for ladies to put Rouge on their ears, not their cheeks, which is one reason why Madam Gautreau's ear looks so pink in Sargent's painting, Madame X. I can't imagine a woman like her actually blushing, but then who knows? She also powdered the rest of her skin a whitish color, which exaggerated the effect of her scarlet ears. We prefer our milk white, not black, and our blood red instead of green-unless of course you happen to be a Martian or a highly privileged person, which in the latter case having blue blood is OK. We like our majestic mountains to be purple, our waves of grain amber, and our cowards yellow. Many other twisted color notions, as we know, take on stupidly horrible dimensions in the form of racism and racial profiling. 文化观念也影响着我们对颜色的偏好。例如，红色在女士的嘴唇上看起来很好，但在她的鼻子上就不那么好（至少在当今社会不好）。在维多利亚时代，女士们流行在耳朵上擦胭脂，而不是在脸颊上，这也是为什么高特罗夫人在萨金特的画作《X 夫人》中的耳朵看起来那么粉红的原因之一。我无法想象像她这样的女人会真的脸红，但谁又知道呢？她还把皮肤的其他部分打成白色，这加重了她耳朵的绯红效果。我们喜欢我们的牛奶是白色的，而不是黑色的，我们喜欢我们的血是红色的，而不是绿色的——除非你碰巧是火星人或者是一个极其特权的人，在后一种情况下，有蓝色的血是可以接受的。我们喜欢我们威严的山峰是紫色的，我们的麦浪是琥珀色的，我们的懦夫是黄色的。正如我们所知，许多其他扭曲的颜色观念在种族主义和种族歧视的形式中呈现出愚蠢可怕的维度。
The colors of things and the biases we bring to those colors have much to do with even our artistic choices. Often I have heard painters say they saw the right color but didn't use it because they didn't like it. More commonly, painters have a favorite color on their palette that they use throughout a painting whether or not the color is present in the subject. Still others have preferred combinations of colors they repeatedly use simply because they "worked" well in past paintings. 事物的颜色以及我们对这些颜色的偏见在我们的艺术选择中起着很大作用。我经常听到画家说他们看到了正确的颜色，但却没有使用它，因为他们不喜欢它。更常见的是，画家在调色板上有一个喜欢的颜色，无论主题中是否存在这种颜色，他们都会在整幅画中使用它。还有一些画家有一些喜欢的颜色组合，他们反复使用，只是因为这些颜色在过去的作品中“运作”得很好。
There is also some evidence that perception of color among people with "normal" vision varies somewhat. (I do not mean actual color blindness.) Some individuals, for instance, seem to see their visual field as being overall greener or more blue than others. You can see this color shift clearly in the works of competent painters when they paint the same subject under the same light at the same time. Four well-known examples are identical subjects painted by Renoir and Monet: La Grenouillère (1869), and Sailboats at Argenteuil (1873). Monet's works were more blue-violet than Renoir's. Both, however, are "true" within their respective harmonies. Their paintings seem "correct" compared to one another because their color temperature relationships are identical, even though they are not precisely alike in actual color. Whether this is a physiological curiosity or a simple predilection for certain colors, I do not know, but it is certainly nothing to worry about. If you happen to be of the blue persuasion, just don't get into an argument with someone who sees everything greener. Monet and Renoir managed very well and remained friends. 有证据表明，即使是那些视力“正常”的人对颜色的感知也有所不同。（我并不是指实际的色盲。）例如，有些人似乎会认为他们的视野整体更绿或更蓝。当有能力的画家在同一时间、同一光线下绘制相同主题时，你可以清楚地看到这种颜色转变。著名的四个例子是雷诺阿和莫奈绘制的相同主题：《格勒努耶尔》（1869 年）和《阿让特伊的帆船》（1873 年）。莫奈的作品比雷诺阿的更蓝紫色。然而，两者在各自的和谐中都是“真实”的。他们的画作相互比较看起来“正确”，因为它们的色温关系是相同的，即使实际颜色并不完全相同。我不知道这是生理上的奇特现象还是对某些颜色的简单偏爱，但这绝对不值得担心。如果你偏爱蓝色，只需不要与那些看到一切更绿的人争论。莫奈和雷诺阿相处得非常好，一直是朋友。
It is clear how our personal attraction-aversion response to certain colors can sometimes frustrate accurate perception. Imagine trying to paint snow if white gives you the creeps, or if the subtle colors in snow are ignored because snow carries a white only label! More familiar is the complaint about painting summer landscapes that "everything is too green," or everything is the same green. This of course is not true. It's ridiculous. Summer landscapes, as all other landscapes, contain every color in the rainbow. Painters who make such an objection are either not noticing the wealth of colors, or simply revealing their aversion to green. 我们对某些颜色的个人吸引力和厌恶反应如何影响准确感知是显而易见的。想象一下，如果白色让你毛骨悚然，那么尝试画雪会是怎样一种体验，或者如果忽略了雪中微妙的色彩，因为雪被简单地标记为白色！更为熟悉的是对夏季风景画的抱怨：“一切都太绿了”，或者一切都是同一种绿色。当然，这是不正确的。这是荒谬的。夏季风景，像其他所有风景一样，包含了彩虹中的每一种颜色。提出这种异议的画家要么没有注意到丰富的色彩，要么只是暴露了他们对绿色的厌恶。
Much more untidy though is our acquired notion about hot and cold (or warm and cool) colors. These terms describe the technical temperature relationships between colors. It is a mistaken notion that a specific color has an intrinsic temperature-such as blue always being cold and orange always warm. Compared to one another they are, but not in themselves. It is not always easy to make such a distinction. Try comparing orange, red, and yellow to one another-which is warmer? Which is cooler? And by how much? See the problem? (As you read further, the subtleties of color temperature will be examined much more thoroughly.) 我们对热色和冷色（或暖色和凉色）的概念更加混乱。这些术语描述了颜色之间的技术温度关系。一个错误的观念是特定颜色具有固有的温度，比如蓝色总是冷色，橙色总是暖色。相对于彼此来说是这样，但它们本身并非如此。要做出这样的区分并不总是容易。试着将橙色、红色和黄色相互比较——哪个更暖？哪个更凉？差距有多大？看到问题了吗？（随着您继续阅读，颜色温度的微妙之处将被更加彻底地探讨。）
The point of all we have been discussing about perception is this: as painters we must get past our common preconceptions about color and realize when we paint we are working in an arena of relativity where the appearance of colors (their identity, and how they look), changes from one situation to the next. The change happens mainly when the light source changes from one situation to another, such as going from bright sunshine to a cloudy day (as an extreme example). The "look"of a color also changes when other colors in a subject change. For example, the ear on Sargent's Madame would look quite different if Madame Gautreau had worn a white dress with a hot pink background instead of the sexy black dress and the drab background. 我们讨论感知的重点是：作为画家，我们必须超越对颜色的常见先入为主，意识到在绘画时，我们是在相对性的领域中工作，颜色的外观（它们的身份以及它们的外观）会随着情况的变化而变化。当光源从一个情况变化到另一个情况时，颜色的外观（它们的身份以及它们的外观）会发生变化。当主体中的其他颜色发生变化时，颜色的“外观”也会发生变化。例如，如果高特罗夫人穿着一件白色连衣裙，背景是鲜艳的粉红色，而不是性感的黑色连衣裙和单调的背景，萨金特的《高特罗夫人的耳朵》看起来会完全不同。
RED AND WHITE AZALEAS oil on canvas, 红白杜鹃油画，
APRIL PANSIES AND RHODODENDRON LEAVES oil on canvas, 四月的三色堇和杜鹃叶油画，
This is what I think of as a yum-yum painting, meaning the bright colors look good enough to eat, like candies in a box. Look at all the colors in the greens too! The brilliant display of color above was produced by applying nearly every bright color with a single stroke of my palette knife, and then not going over the stroke a second time. The way paint is applied can be critical to color purity and strength. The palette knife is ideal when the brightest possible colors are needed. Proficiency with the knife takes practice, but when you get good at it, the knife can be one of the finest tools in your repertoire of techniques. Single palette knife strokes are rarely perfect on all sides of a stroke. I find I usually have to modify or correct the edge with an adjacent color to make it the right shape, but I never fool with the main body of the stroke itself. 这幅画是我认为的美味绘画，意思是明亮的颜色看起来好像可以吃的糖果一样。看看绿色中的所有颜色！上面的色彩绚丽展示是通过用调色刀一次涂抹几乎每一种明亮的颜色而产生的，然后不再第二次涂抹。涂抹颜料的方式对颜色的纯度和强度至关重要。调色刀在需要最明亮的颜色时是理想的选择。熟练掌握刀的技巧需要练习，但当你熟练掌握时，刀可以成为你技术库中最精良的工具之一。单一调色刀涂抹很少完美地涵盖每一边。我发现我通常需要用相邻的颜色修改或纠正边缘，使其成为正确的形状，但我从不干扰涂抹本身的主体。
THOUGHTS ON THE NEW PIGMENTS 对新颜料的思考
If artists from any period in the past could rise from their graves and travel through time to a large art supply store in the United States today, they would probably think they had at last arrived in a painter's heaven. If I happened to be in the store at the time, I'm not quite sure what I would do, or say, or even understand, what with all those old guys excited out of their wits! 如果过去任何时期的艺术家能够从坟墓中复活并穿越时空来到今天的美国一家大型艺术用品商店，他们可能会认为自己终于来到了画家的天堂。如果我碰巧在店里的话，我不太确定我会做什么，说什么，甚至理解什么，因为那些兴奋得不知所措的老家伙们！
We are blessed today with a selection of high quality materials unmatched in history-paints and brushes which would have sent the old Masters into deliriums of joy. Modern paint chemistry has given us so very much to choose from, yet not quite all the colors we would like to have, at least not as absolutely permanent stable pigments. Except for one tiny exception, I'm pretty happy with the pigments I have to work with. This minor empty space on my palette is the lack of a pure transparent yellow. Some yellows are marketed as transparent by the manufacturers, but they are actually only translucent suspensions of opaque or semi-opaque pigments. None are truly transparent in the same way such things as amber, olive oil, or vintage Rhine wines are. 今天我们有幸拥有一系列质量优秀的材料，这在历史上是无与伦比的——颜料和画笔会让古代大师陶醉于其中。现代的油漆化学为我们提供了很多选择，但并非所有颜色都是我们想要的，至少并非绝对稳定的颜料。除了一个微小的例外，我对我所使用的颜料感到相当满意。我调色板上的这个小空白是缺少一种纯透明的黄色。一些黄色被制造商宣传为透明，但实际上它们只是不透明或半不透明颜料的悬浮液。没有一种像琥珀、橄榄油或陈年莱茵酒那样真正透明的黄色。
The issue of yellow aside, I welcome the new pigments. The only problem I have is the acute embarrassment I feel asking for them in art stores when I try pronouncing their names. Words like isoviollanthrone, thioindigold, indanthrene, quinacridone, benzimidazolone, dinitraniline, and isoindoline to name only a few, are far more than I can manage without the danger of my tongue falling off, or the salesgirl laughing herself silly. 除了黄色这个问题之外，我欢迎新的颜料。我唯一的问题是在艺术商店要求它们时，我尝试发音时感到尴尬。像异维奥兰斯酮、硫吲哥、靛蓝、喹啉酮、苯并咪唑酮、二硝基苯胺和异吲哚等词汇，仅举几例，远远超出了我所能掌握的范围，否则我的舌头可能会掉下来，或者售货员会笑得前仰后合。
To me the names for new artists' colors sound more like medicines for chronic skin diseases. Perhaps with age I'm just getting old fashioned, but the palette pigments I use (page 212) were perfected long before I was born. I know all about them. They have served me well since I was a young student, and most of the works I completed with them more than sixty years ago are still as fresh as the day they were painted. That said, I also enjoy trying out some of the new more saturated versions of the primary and secondary colors. Many of them are indeed quite brilliant and strong (a little can go a long way). For me, it's like tasting new candy, but in the end, it's all still just sugar. Some are rated more stable and permanent than others, so stick with the recommended ones, and bear in mind conservators measure permanence in centuries. They do not rely upon accelerated light tests to rate permanence, as manufacturers do for their marketing. 对我来说，新艺术家颜色的名称听起来更像是治疗慢性皮肤病的药物。也许随着年龄的增长，我变得越来越守旧，但我使用的调色板颜料（第 212 页）早在我出生之前就已经完善了。我对它们了如指掌。自从我还是个年轻学生以来，它们一直为我效力，我用它们完成的大部分作品已经超过六十年，但至今仍然新鲜如初。话虽如此，我也喜欢尝试一些新的更饱和的原色和辅助色。其中许多确实非常出色和强大（少量即可见效）。对我来说，这就像品尝新糖果，但最终，它们仍然只是糖。有些比其他颜色更稳定和持久，因此请坚持使用推荐的颜色，并记住，艺术保护者以世纪为单位来衡量持久性。他们不依赖于加速光测试来评估持久性，就像制造商为了市场营销而做的那样。
If you're anything like me and you want to know exactly what your paint is made of, how it is made, how to apply it properly for permanence, how to read the labels on paint tubes so you know what you're buying, what paints never to use, and what you can believe about what manufacturers say to sell their products, two books should be required reading for you: The Artist's Handbook of Materials and Techniques by Ralph Mayer, and The Artist's Guide to Selecting Colors, by Michael Wilcox. For more details see the Recommended Reading section at the end of this book. 如果你和我一样，想要准确了解你的颜料是由什么制成的，它是如何制造的，如何正确地涂抹以保持持久性，如何阅读颜料管上的标签以了解你购买的是什么，哪些颜料永远不要使用，以及你可以相信制造商为推销他们的产品所说的话，那么两本书应该是你必读的：《艺术家材料和技术手册》（Ralph Mayer 著）和《艺术家选色指南》（Michael Wilcox 著）。更多细节请参阅本书末尾的推荐阅读部分。
Abstract 摘要
One final point: using the latest state-of-the-art red or blue or green or whatever pigments, is not going to make your pictures look any better if you do not also have a practical knowledge of the characteristics and use of color itself. It is how you understand color and how you use it that matters. 最后一点：使用最新的先进红色、蓝色、绿色或任何颜料，如果你不了解颜色本身的特性和使用方法，那么你的图片不会变得更好看。重要的是你如何理解颜色以及如何运用它。
THE LIMITATIONS OF PIGMENT 颜料的局限性
Although we have a rich selection of pigments to choose from, we cannot hope to match the full range of values and colors we normally see in various subjects. This is because Mother Nature creates colors in a variety of ways, mostly by using light itself as her palette, but paint can only produce color one way-by selectively reflecting light. Selective reflection means all pigments reflect certain wavelengths of light and absorb others. The two exceptions are white and black. Pure white pigment reflects all wavelengths of light, which is why it looks white. On the other hand, pure black pigments absorb all light and color, so we see nothing, and we call it blackness. The resulting contrast on this page is the reason why you can read my words-while the ink is busy absorbing light, this paper is reflecting light. If the situation were reversed, the paper would look black and the words would be white. 尽管我们有丰富的颜料可供选择，但我们无法希望与通常在各种主题中看到的完整色值和颜色范围相匹配。这是因为大自然以各种方式创造颜色，主要是通过使用光本身作为她的调色板，但颜料只能通过选择性地反射光来产生颜色。选择性反射意味着所有颜料反射特定波长的光并吸收其他波长的光。两个例外是白色和黑色。纯白色颜料反射所有波长的光，这就是为什么它看起来是白色的原因。另一方面，纯黑色颜料吸收所有光和颜色，所以我们什么都看不到，我们称之为黑色。这一页上产生的对比是你能阅读我的文字的原因-当墨水忙于吸收光时，这张纸正在反射光。如果情况颠倒，纸会看起来是黑色的，文字会是白色的。
Interesting isn't it, when we speak of pigmentation we normally think of color as actually being something, like the red on an apple for example, when in fact red is simply the absence of blue and yellow! Likewise, yellow is the absence of blue and red; blue lacks red and yellow; orange is red and yellow but no blue; green is blue and yellow but no red, and so on. If you wanted to have fun with words, you could say then: all colors are what they are, but on the other hand they are also what they are not! 有趣的是，当我们谈到色素时，我们通常认为颜色实际上是某种东西，比如苹果上的红色，但事实上红色只是蓝色和黄色的缺失！同样，黄色是蓝色和红色的缺失；蓝色缺少红色和黄色；橙色是红色和黄色但没有蓝色；绿色是蓝色和黄色但没有红色，依此类推。如果你想玩文字游戏，你可以说：所有颜色都是它们自己，但另一方面它们也是它们不是的！
While the full extent of brightness and color hues in creation is beyond our palette pigments, we can nevertheless produce astonishing versions of what we see, because the kind of painting I am dealing with in this book is not about literally duplicating the real world. It is about painting our own personal visual experience of the world. To accomplish this we have many ways to express the effects of light and color even though we can only occasionally duplicate the actual intensity of light and saturation of colors. Some trompe l'oeil painters such as William Harnett (1848-1892) managed this amazingly. 尽管创作中的亮度和色调的全部范围超出了我们的调色板颜料，但我们仍然可以制作出令人惊叹的版本，因为我在本书中处理的绘画类型并非字面上复制现实世界。它是关于描绘我们自己对世界的个人视觉体验。为了实现这一点，我们有许多方法来表达光线和颜色的效果，尽管我们只能偶尔复制出实际光线强度和颜色饱和度。一些视错觉画家，如威廉·哈内特（1848-1892 年），惊人地做到了这一点。
And by the way, I am not referring here to interpretive art or stylization, where artists change what they literally see in order to have it conform to a certain personal manner of painting. That is another branch of art entirely. 顺便说一句，我这里指的并不是解释性艺术或风格化，艺术家们改变他们所看到的东西以符合某种个人绘画方式。那是完全不同的艺术分支。
Our materials have a few other characteristics we must accept. Oil paint is smelly to some (it's fragrant to me). It is also a naturally shiny substance, which is why it produces the richest colors and deep values. The same luster can often produce disconcerting glare in working or viewing. Acrylic is nice for those who don't like turpentine and other solvents, but it lacks the textural possibilities and classic look of oils. Watercolors dry with a matte surface and lose a certain richness in the dark colors. Also there is a general belief (bloody unfair too) that water media are not as serious or as valuable as oils. Pastel has the same problem; so does egg tempera, casein, gouache, and so on. 我们的材料还有一些其他特点是我们必须接受的。油画对一些人来说有刺鼻的气味（对我来说是芬芳的）。它也是一种自然光泽的物质，这就是为什么它能产生最丰富的颜色和深度价值。同样的光泽往往会在工作或观看时产生令人不安的眩光。丙烯酸对那些不喜欢松节油和其他溶剂的人来说很好，但它缺乏油画的质地可能性和经典外观。水彩颜料干燥后表面呈哑光，深色失去了一定的丰富度。此外，有一个普遍的信念（也太不公平了），即水性媒介不像油画那样严肃或有价值。粉彩也有同样的问题；蛋彩、胶乳、水粉等也是如此。
Every medium has drawbacks and hindrances, just as each has superb qualities and strengths. It is up to us to understand the materials and tools we use and know what we can and cannot do with them. For all practical purposes, however, the reliable colors we do have are quite enough for almost any artistic statement, because the success or failure of a work does not rely upon precisely duplicating nature, nor does it depend on the quality of our materials. Only our aesthetic vision and skills matter. Back in art school, we (students) liked to complain about our materials (convenient diversions from our struggles with learning). Bill Mosby would point out to us that if Michelangelo had possessed only a broom and a bucket of mud, he could still have painted the Sistine Chapel ceiling, and it would have been just as much of a masterpiece! The Pope might not have approved though. 每种媒介都有其缺点和障碍，正如每种媒介都有出色的品质和优势一样。我们需要了解我们使用的材料和工具，知道我们可以做什么，不能做什么。然而，在实际应用中，我们拥有的可靠颜色已经足够几乎任何艺术表达，因为作品的成功与否并不取决于精确复制自然，也不取决于我们材料的质量。只有我们的审美视野和技能才是重要的。在艺术学校里，我们（学生）喜欢抱怨我们的材料（方便地转移了我们对学习的挣扎）。比尔·莫斯比会指出，如果米开朗基罗只有一把扫帚和一桶泥，他仍然可以绘制西斯廷教堂的天花板，而且它也会是一样伟大的杰作！尽管教皇可能不会赞同。
HOBB GREEN BREAKFAST oil on canvas, , Yorkshire, England, 1994 HOBB GREEN BREAKFAST 油彩 画布, , 英格兰约克郡, 1994
Nancy is shown here in 1994 at the Hobb Green, a Manor house and estate located in Yorkshire, England (now a Bed and Breakfast). As gracious as our hosts were, I could not bring myself to ask permission to actually paint in their dining room, so this was done from a photograph. Fortunately, I had painted Nancy and others often from life in similar settings, which made it fairly easy to extrapolate colors missing in the photo. Most of those were in the extremely dark and light areas. The middle tones usually came through quite well when I was using color film. 南希在这里展示于 1994 年的霍布格林，这是一座位于英格兰约克郡的庄园和庄园（现在是一家民宿）。尽管我们的主人很亲切，但我无法让自己请求在他们的餐厅里真正绘画，所以这是根据一张照片完成的。幸运的是，我经常在类似的环境中从生活中绘制南希和其他人，这使得在照片中缺失的颜色相对容易推断出来。大多数缺失的颜色在极暗和极亮的区域。当我使用彩色胶片时，中间色调通常表现得相当不错。
It was helpful too, knowing that the light was cool (it was a bright overcast morning). Therefore, as long as I kept my darks progressively warmer than the light areas, I was safe regarding color temperature. Since the window was the only source of light, there was a single direction of light, which also made things easier. 这也很有帮助，因为我知道光线是凉爽的（那是一个明亮多云的早晨）。因此，只要我保持我的暗部比光线区域逐渐暖和，我在颜色温度方面就是安全的。由于窗户是唯一的光源，光线只有一个方向，这也让事情变得更容易。
I find paintings such as these studies from photos are, on average, best as small paintings rather than larger ones, because in enlarging an image, whether it is digital or from film, there is only enough useful color information up to a certain point. Beyond that point, my experience has been that there are not enough subtle color changes to do a canvas larger than inches satisfactorily. 我发现这样的绘画作品，例如从照片中研究而来的作品，平均来说，作为小画作要比大画作更好，因为在放大图像时，无论是数字图像还是胶片图像，只有在某个特定点之前有足够的有用颜色信息。在那一点之后，我的经验是，没有足够的微妙颜色变化可以满足大于 英寸的画布。
SALMON TRAWLERS oil on canvas, , Dingle Bay, Ireland, 1994 三文鱼拖网渔船 布面油画, , 爱尔兰丁格尔湾, 1994
I love to paint rainy, snowy, and foggy situations. Because of the pervasive moisture in the air, atmospheric effects such as these provide ready-made color harmonies. Tiny water droplets or flakes act as little prisms reflecting and repeating all of the light and color in a scene, supersaturating it with a single dominant note (Cobalt Blue in this case). The only problem was tactical: how to manage the weather. Painting in the rain isn't so bad if you are inside warm and dry - which I was here. This is one of several waterfront sketches I completed at Dingle Bay, Ireland, in 1994. Nancy and I have various strategies to deal with weather on our travels; all of them involve getting in or under something to keep the canvas and palette dry. (We wear rain gear too.) For this sketch, I drove to the wharf edge at the little port of Dingle, and painted in the front seat of our small car with my canvas propped up on the steering wheel quite a trick for someone my size. 我喜欢描绘雨天、雪天和雾天的情景。由于空气中普遍存在的湿气，这些大气效应提供了现成的色彩和谐。微小的水滴或雪花充当小棱镜，反射和重复场景中的所有光线和色彩，用单一的主色调（在这种情况下是钴蓝色）使其过度饱和。唯一的问题是战术性的：如何应对天气。如果你在温暖干燥的室内，下雨时画画并不那么糟糕——而我就是在这种情况下。这是我 1994 年在爱尔兰丁格尔湾完成的几幅海滨速写之一。南希和我有各种策略来应对旅行中的天气；所有这些策略都涉及找到遮蔽物，以保持画布和调色板干燥（我们也穿雨衣）。对于这幅速写，我开车到了丁格尔小港口的码头边，在我们的小车前座上画画，我的画布靠在方向盘上，对于我这样的人来说是一个相当巧妙的技巧。
MISINFORMATION SPECIFIC TO COLOR 特定于颜色的错误信息
In spite of the plethora of color "systems" on hand, no one has yet been able to come up with a comprehensive color "law" that always meets the demands of working from life. Most of the lesser "rules" and many of the misguided notions that have come down to us do not stand up very well either. Here are a few examples of the more familiar fallacies and oddities. 尽管有大量的色彩“系统”可供使用，但至今还没有人能够提出一个始终能满足从生活中工作需求的全面色彩“法则”。大多数较次要的“规则”和许多传世的错误观念也很难站得住脚。以下是一些更为熟悉的谬误和奇特之处的例子。
You have all heard the saying about warm colors "advancing" and cool colors "receding" in landscape painting-that is simply false, so don't believe it. There are no such constants in nature. Sometimes colors appear cooler with distance, but not always. 你们都听说过关于暖色“前进”和冷色“后退”在风景画中的说法 - 那纯粹是错误的，所以不要相信。在自然界中没有这样的恒定规律。有时颜色在远处看起来更冷，但并非总是这样。
Equally wrong is the idea of certain colors naturally "going together," or that others "clash." Such notions are simply personal opinions formed by fads or flawed theories of harmony. Color harmonies, pleasing to us or not, are created by ambient light, or a combination of lights from natural or man-made sources, acting alone or together, with local pigmentation in subjects or scenes before us-nothing more. I have much more to offer about color harmony ahead as you read on. 同样错误的是某些颜色自然“搭配在一起”的想法，或者其他颜色“冲突”。这些观念仅仅是由时尚或和谐理论的缺陷形成的个人观点。色彩和谐，无论我们是否喜欢，都是由环境光线或自然或人造光源的组合单独或共同作用，在我们面前的主体或场景中的局部色素所创造的，没有其他。当您继续阅读时，我将提供更多关于色彩和谐的内容。
The idea that a color can be "neutralized" by mixing it with its complement is not true either, because there is no such thing as a neutral color. For example, mixing green into red, or adding purple to yellow does not neutralize the red or yellow, it just changes them into a different red or yellow. 颜色可以通过与其互补色混合来“中和”这一观念也是不正确的，因为中性颜色并不存在。例如，将绿色混入红色中，或者向黄色中添加紫色并不能使红色或黄色中和，只是将它们变成了不同的红色或黄色。
Avoid schemes offering methods or systems or procedures for creating color harmonies or specific natural effects (like how to paint the color of water, or flowers, or rainy Paris street scenes). They might produce results under certain circumstances, but not in working from life. Nature has given us no such formulas, only a few principles. A good example is the proven observation about clear blue skies: what seems to be a blue sky at first glance is actually composed of all the colors of the rainbow, from a warm Ultramarine Blue at its zenith, down through cooler blues, blue-greens, yellow-greens, and finally dusky reds at the horizon. Be wary as well if anyone claims to have a simple cure for your color problems, or offers a theory which if followed will always produce "great" color no matter what. 避免那些提供创造色彩和特定自然效果（比如如何描绘水的颜色、花朵的颜色或下雨的巴黎街景）的方法、系统或程序。它们在某些情况下可能会产生结果，但在现场创作时却不会。大自然并没有给我们这样的配方，只有一些原则。一个很好的例子是关于晴朗蓝天的经过验证的观察：乍看之下似乎是一片蓝天，实际上由彩虹的所有颜色组成，从顶部的暖群青蓝色，经过更冷的蓝色、蓝绿色、黄绿色，最终到地平线处的暗红色。同样要警惕的是，如果有人声称有简单的解决方案来解决你的色彩问题，或者提供一种理论，声称无论如何都能产生“出色”的色彩。
Some day (perhaps after I have departed to the great studio in the sky), but alas, probably sooner than we expect or want, you will be able to point your mobile phone, or some other digital gadget, at your subject and it will tell you what colors to mix. (Similar analyzers have been in use for some time in hardware and paint stores.) Until such time arrives you can fool around with any of a number of color "aids" available from your favorite art store or on the Internet. These aids, some small enough to fit in your pocket, are usually circular plastic or cardboard displays printed with small rectangles of primary and secondary colors. They come with discs you can turn, and little window displays which show what happens when you mix one color with another. Other color wheels show you how to create various types of color harmonies or how to match colors. Still other gadgets are intended to be held up to a subject to supposedly show what its values are. I have not checked, but I'm sure these applications are also on your mobile device. 有一天（也许在我飘然离去到天堂的大工作室之后），但遗憾的是，可能比我们期望或想象的要早，您将能够用您的手机，或其他数字设备对准您的主题，它会告诉您应该混合哪些颜色。（类似的分析仪器在硬件和油漆商店中已经使用了一段时间。）在这样的时刻到来之前，您可以尝试使用您喜爱的艺术商店或互联网上提供的各种颜色“辅助工具”。这些辅助工具通常足够小，可以放在口袋里，通常是印有主要和次要颜色小矩形的圆形塑料或纸板显示器。它们配有您可以转动的圆盘，以及小窗口显示器，显示当您混合一种颜色与另一种颜色时会发生什么。其他颜色轮显示您如何创建各种类型的色彩和谐，或如何匹配颜色。还有其他设备旨在举起对准主题，据说可以显示其价值。我没有核实，但我相信这些应用程序也可以在您的手机设备上找到。
My suggestion is to ignore such things. Such things might possibly be useful for children in a classroom setting, but for serious use in helping anyone paint from life, they are completely without value. Why? Because as I pointed out earlier in this chapter, the very essence of color lies in its relativity. Colors are so completely dependent upon one another and the light upon them for their appearance (how they look to us), that they are beyond any conceivable systematizing or codification. Even the highly regarded Munsell Color System, so widely employed in industry and printing, is useless to an artist working from life. This is because that system cannot provide for the relativistic nature of color as a human experience. No chart, color wheel, mixing guide, harmony scheme, numerical color selector, or electronic color matching device can ever hope to match the sensitivity, range, and above all, the judgment, of the eye and mind capability of a painter who has mastered the skills of working from life. 我的建议是忽略这些东西。这些东西可能对课堂环境中的孩子有用，但对于严肃地帮助任何人从生活中绘画而言，它们是完全没有价值的。为什么？因为正如我在本章前面指出的，颜色的本质在于它的相对性。颜色是如此地彼此依赖，以及光线对它们的影响，以决定它们的外观（它们在我们看来是什么样的），以至于它们超越了任何可以想象的系统化或编码化。即使是备受推崇的蒙赛尔色彩系统，在工业和印刷业中被广泛采用，对于从生活中绘画的艺术家来说也是无用的。这是因为该系统无法提供颜色作为人类体验的相对性。没有任何图表、色轮、混色指南、和谐方案、数字颜色选择器或电子颜色匹配设备能够希望与掌握了从生活中绘画技巧的画家的眼睛和头脑能力的敏感性、范围和最重要的判断相匹敌。
There is also a popular idea that nature has to be "helped." Some believe her colors or formations and designs need to be altered to comply with an ideal of what is compositionally acceptable or aesthetically pleasing. That is absurd. Like it or not, Nature per se is perfect, but not all of us see or respond in the same way to the sumptuous banquet she offers. My personal approach is always to look within myself to find what drew me to my subject and why it did, rather then change what is before me to conform to what I am sure will be pleasing, or make my picture sell faster. In my view, capturing the look of authenticity, painting the way a subject really appears to me, is the way to go. This is the reason why, for example, in a still life of flowers, I give as much attention to dead leaves and blossoms as I do healthy ones. It is also the reason I prefer to do flowers in a garden or forest rather than indoors. Outside in a natural environment they are subject to the effects of nature, and thus take on a character entirely missing in florist-grown preened and pruned flowers. 有一种流行的观念认为大自然需要“帮助”。有人认为她的颜色、形态和设计需要被改变，以符合构图上的理想或审美上的取悦。这是荒谬的。不管你喜欢与否，大自然本身是完美的，但并非我们所有人对她提供的丰盛盛宴有相同的看法或反应。我的个人方法始终是从内心寻找是什么吸引我到我的主题以及为什么吸引我，而不是改变眼前的事物以符合我确信会令人满意或使我的画作更快售出的标准。在我看来，捕捉真实感，描绘主题在我眼中真实的样子，才是正确的方式。这就是为什么，例如，在一幅描绘花卉的静物画中，我对枯叶和花朵给予与健康的花朵同等的关注。这也是我更喜欢在花园或森林里画花卉而不是在室内的原因。在自然环境中，它们受到自然的影响，因此具有完全不同于花店种植的修剪整齐的花朵的特质。
There are no "beautiful" or "ugly" colors either. Colors are just colors. Beauty and ugliness are merely flawed concepts drilled into us as we grow up and experience the big complicated world. It is a major part of what is called the socialization process, the means by which we become slowly civilized as we grow up. The beautiful-or-ugly nonsense part goes like this: figuratively speaking, all things as we encounter them for the first time come with invisible little tags attached to them-flowers are pretty, leaves are ordinary, dead leaves are ugly, spiders are horrible, so are snakes, sunsets are gorgeous, cloudy days are ordinary, roast turkey is beautiful, a slaughtered hog is repulsive-you see where I'm going with this. 没有所谓“美丽”或“丑陋”的颜色。颜色只是颜色。美丽和丑陋只是我们在成长过程中被灌输的有缺陷的概念。这是社会化过程的重要组成部分，是我们在成长过程中逐渐变得文明的手段。美丽或丑陋的无稽之谈如下：比喻地说，当我们第一次遇到所有事物时，它们都带着看不见的小标签——花是漂亮的，叶子是普通的，枯叶是丑陋的，蜘蛛是可怕的，蛇也是，日落是华丽的，多云的日子是普通的，烤火鸡是美丽的，宰杀的猪是令人厌恶的——你明白我要表达的意思了。
Society, through our culture, neatly classifies everything in the whole world for us into three broad categories: the beautiful (or good), the ordinary or common (not particularly interesting), and the ugly (or bad). When it comes down to colors, we will have come by a certain age to believe some to be beautiful, some to be boring, and the rest to be ugly or inconsequential. As artists we learn (I hope) such adjectives are nothing more than useless value judgments which merely describe our naïve feelings about colors, not their intrinsic properties. The words beauty and ugly have no meaning when we paint. 社会通过我们的文化，将整个世界的一切整齐地分类为三大类：美丽（或好的）、普通或常见（不特别有趣）和丑陋（或坏的）。当涉及颜色时，我们在某个年龄段会相信某些颜色是美丽的，某些颜色是无聊的，而其他颜色是丑陋或无关紧要的。作为艺术家，我们学会（我希望如此）这样的形容词仅仅是毫无意义的价值判断，仅仅描述了我们对颜色的天真感受，而非它们的固有属性。在绘画时，美丽和丑陋这些词语毫无意义。
All the other common adjectives applied to specific colors, such as exciting, somber, mellow, sensuous, gay, deathly, bold, sexy, mellow, masculine, feminine, amusing, soothing, banal, and so on, have no valid meaning either. They too refer only to our feelings. The words chalky or muddy, however, are familiar terms artists use when they are unhappy with certain colors in their paintings. As it invariably turns out, they are in fact describing colors as simply mixtures which are the inappropriate relative temperature for the area in which they are placed. 所有应用于特定颜色的其他常见形容词，如令人兴奋的、忧郁的、柔和的、性感的、快乐的、致命的、大胆的、性感的、柔和的、男性化的、女性化的、有趣的、舒缓的、平庸的等等，也没有任何有效的含义。它们只是指代我们的感受。然而，粉笔状或泥泞的这些词汇是艺术家在对他们的画作中某些颜色感到不满意时使用的常见术语。事实上，它们描述的只是颜色实际上是混合物，这些混合物在其所处区域的相对温度不合适。
The commercial cliché names given to many colors are worthless-Rose Red, Canary Yellow, Fuchsia, Mauve, Beige, Elephant Gray, Wild Cherry, Spanked Baby Pink, Olive Drab, Funereal Black - all are just silly. However, the familiar names for artists' pigments, such as Cobalt Blue, Cadmium Red, and Terra Rosa, for example, are functional since they are manufacturers' standards by which we identify specific pigments. (At least they are supposed to be-some pigments, such as Yellow Ochre, Viridian, and the Cadmiums vary widely in hue from one brand to another.) 商业陈词滥调给许多颜色起的名字毫无价值 - 玫瑰红、金丝雀黄、紫红、淡紫、米色、象灰、野樱桃、粉红、橄榄褐、葬礼黑 - 都只是愚蠢的。然而，对于艺术家颜料的熟悉名称，比如钴蓝、镉红和泰拉玫瑰等，是功能性的，因为它们是制造商标准，我们通过这些标准来识别特定的颜料。（至少它们应该是 - 一些颜料，比如黄土、翠绿和镉色在不同品牌之间的色调差异很大。）
Lastly and obviously quite important: beware of the mystique of color! This is the insidious notion you either have a "color sense" or you do not. I'm not sure just what is meant by a color sense. Perhaps it is supposed to be something imparted by one's DNA, or it's like having the ability to levitate. Who knows? It doesn't really matter because such ideas are merely make-believe notions from our folklore. Watch out too for the foolish belief about color being too complex to ever master (like the average person's attitude toward rocket science). It isn't. Even worse is the often helpless feeling that color doesn't make any sense at all. Color is one of Creation's nicer ideas. It is there for us to savor, and explore, and share. It has a beautiful order which anyone willing to make the effort can master. Trust me on this. 最后但显然相当重要的是：小心色彩的神秘感！这是一个潜在的观念，即你要么有“色彩感”，要么没有。我不确定“色彩感”究竟是什么意思。也许它被认为是由一个人的 DNA 传授的，或者就像拥有悬浮能力一样。谁知道呢？这并不重要，因为这些想法只是我们民间传说中的虚构概念。还要注意那种愚蠢的信念，即色彩太复杂，永远无法掌握（就像普通人对待火箭科学的态度）。事实并非如此。更糟糕的是，人们常常感到无助，觉得色彩根本毫无意义。色彩是创造的美好想法之一。它在那里等待我们品味、探索和分享。它有一种美丽的秩序，任何愿意付出努力的人都可以掌握。相信我。
TRALEE CHOCOLATE SHOP oil on panel, 8 x 12, Ireland, 1994 特雷利巧克力店 油画 面板 8 x 12 爱尔兰 1994
This is another example of how water can act to unify the color in a location - the wetness everywhere reflecting colors endlessly, creating a Cadmium Red harmony. Please note, the primary and secondary colors-red, yellow, blue, green, orange, and violet - are all present, but only red, yellow, and orange, appear in a pure state. Yellow and orange stand out because they represent light sources within the shop, and are independent of the otherwise cooler dominant outdoor natural light. My set-up was across the street under an awning, and Nancy obliged me by posing briefly and rather demurely with her umbrella as the lovely Rose of Tralee in the rain. 这是另一个展示水如何统一一个地点色彩的例子 - 到处湿漉漉的反射着无尽的颜色，营造出镉红色的和谐。请注意，红、黄、蓝、绿、橙和紫这些主要和次要颜色都存在，但只有红、黄和橙呈现出纯净状态。黄色和橙色突出是因为它们代表店内的光源，并且独立于其他较凉爽的室外自然光线。我的摄影设备设置在街对面的遮阳篷下，南希友好地配合我，短暂而端庄地撑着伞，仿佛是雨中可爱的特里利玫瑰。
There are many more delusions out there in the land of art, but I'm sure you see my point. We do not understand color beyond certain basic ideas and proven facts, so we must be wary of quaint beliefs, fears, and expedient little rules that may have arisen under particular circumstances, but cannot be applied generally. Given this enigma about color-its complex power and seeming elusiveness, then add to it the dubious theories, misinformation, cultural whims, and downright ignorance about it, and it is no wonder some find it hard to grasp. Thou shalt not despair though, you're in good hands here. Read on. 在艺术领域中存在许多更多的错觉，但我相信你明白我的观点。我们对颜色的理解不超出某些基本概念和已被证实的事实，因此我们必须谨慎对待可能在特定情况下产生的古怪信念、恐惧和权宜之计，但不能普遍应用。考虑到颜色的这种复杂力量和看似难以捉摸的特性，再加上对其存在的可疑理论、错误信息、文化怪念和对其彻底无知，难怪有些人发现难以理解。但不要绝望，你在这里得到了很好的帮助。继续阅读。
THE GOOD NEWS! 好消息！
Take a deep breath now! The bad part is over! We have mucked around long enough in negatives. I give you now some very cheery things to think about. For starters, I believe color should be great fun! Remember that and never be afraid of color. To me it would be like being afraid of strawberries and whipped cream. There is no reason at all to think of color as intimidating. It has surrounded you all of your life, and you should embrace it joyfully. Color is part of who and what you are. The things I have described above are not worth getting nervous about. Just be aware of them. 现在深呼吸！糟糕的部分已经过去了！我们在消极情绪中玩耍了足够长的时间。我现在给你一些非常愉快的事情来思考。首先，我认为颜色应该是极其有趣的！记住这一点，永远不要害怕颜色。对我来说，这就像害怕草莓和奶油一样荒谬。没有任何理由认为颜色是令人畏惧的。它一直围绕着你的生活，你应该欢欢喜喜地拥抱它。颜色是你的一部分，也是你所处环境的一部分。我上面描述的事情不值得紧张。只需要意识到它们即可。
You can acquire a sound and useful understanding of color. After all, quite a few artists have mastered its ways and their works are glorious lessons in seeing and painting it. As far as I know, there is no evidence they were especially singled out by the Creator, nor endowed with a unique color perception gene you do not also have (if there is one). You already understand many complex natural phenomena, at least to the extent you use them effectively in everyday life, things like gravity, electricity, love, intelligence, memory, to name only a few. Color is just another one, and it is there for you to explore and enjoy. 您可以获得对颜色的深入而有用的理解。毕竟，许多艺术家掌握了它的方式，他们的作品是在观察和描绘颜色方面的宝贵教训。据我所知，并没有证据表明他们特别受造物者青睐，也没有被赋予您没有的独特色彩感知基因（如果有的话）。您已经理解许多复杂的自然现象，至少在您有效地运用它们于日常生活中，比如重力、电力、爱、智慧、记忆等等。颜色只是其中之一，它就在那里等待您去探索和享受。
In addition to giving us their paintings, some of the Masters had the generosity of spirit to share their priceless knowledge by teaching. In the United States for example: Howard Pyle, Robert Henri, Cecilia Beaux, Thomas Eakins, William Merritt Chase, John Twachtman, Frank Vincent DuMond, George Bridgman, and Frank Duveneck, and so many others from a very long list. 除了给我们他们的画作外，一些大师还有慷慨的精神，通过教学分享他们无价的知识。例如在美国：霍华德·派尔、罗伯特·亨利、塞西莉亚·博、托马斯·伊金斯、威廉·梅里特·蔡斯、约翰·特瓦赫特曼、弗兰克·文森特·迪蒙德、乔治·布里奇曼、弗兰克·杜文内克等等，以及很多其他人，名单很长。
Today we also have hundreds (perhaps more) of instructional books and videos on all aspects of art written by accomplished living artists, many quite young, who have embraced the same spirit of sharing as the painters I mentioned above. I am always moved when I realize what they are willing to do to share their knowledge and personal methods with others. I see this same sharing on the Internet, with thousands of artists from across the world enthusiastically exchanging news, ideas, and discoveries about art. 今天，我们还有数百（甚至更多）由成就卓著的现役艺术家撰写的关于艺术各个方面的教学书籍和视频，其中许多是相当年轻的艺术家，他们拥抱了我上面提到的画家们所具有的分享精神。当我意识到他们愿意为了与他人分享他们的知识和个人方法而付出努力时，我总是感动不已。我在互联网上也看到了同样的分享，来自世界各地的成千上万艺术家热情地交流有关艺术的新闻、想法和发现。
So, in spite of the modern movement of the 20th century, which unfortunately discouraged known skills and sophisticated technology, we still know many valuable things, and we have a body of very useful and savvy knowledge to guide us, though it is not gathered in one book or school. We also have a limited (but effective enough) technical language to describe the properties and qualities of color, as well as many of its behavioral quirks. Despite the subjective character of color and the problems of description, many things about it are not purely subjective, and they can be described and articulated rationally. There is far more common sense about color than mystery. 尽管 20 世纪的现代运动不幸地抑制了已知技能和精密技术，我们仍然知道许多有价值的事情，我们拥有一套非常有用和精明的知识来指导我们，尽管它并非集中在一本书或学校中。我们还有一种有限（但足够有效）的技术语言来描述颜色的特性和品质，以及许多颜色的行为怪癖。尽管颜色具有主观性质和描述问题，但关于颜色的许多事情并非纯粹主观，它们可以被理性地描述和表达。关于颜色的常识远远超过神秘。
WHAT I KNOW FOR SURE ABOUT COLOR 关于颜色我确定的事情
I know this simple fact - when painting from life, all I have to do is correctly identify a color I see in my subject as a specific pigment or mixture of pigments, and then put it on my canvas in the right place. Nothing more. See it right, mix what I see right, and then stick it where it belongs. The rest of what I know is about how to do that, which is what the remainder of this chapter is about. I begin with some general remarks about color and light, and then explore the specifics of seeing color in a discerning way and matching what I see with appropriate pigment mixtures. "Sticking it in the right place" comes under the heading of Drawing From Life (Chapter Four). I go into various ways of applying paint to get the most out of color and overcome some of its limitations. I also describe how to explore and understand a palette of colors, and then use the knowledge to help see the patches of color on a subject as simple mixtures. I must also mention that I will be dealing with COLOR TEMPERATURE in all sections because it permeates every aspect of this subject. 我知道这个简单的事实 - 在写生时，我所要做的就是准确地将我在主题中看到的颜色识别为特定的颜料或颜料混合物，然后将其放在画布上的正确位置。没有别的。看准了，调配正确，然后把它放在正确的位置。我知道的其余部分是关于如何做到这一点的，这也是本章剩余部分的内容。我首先谈一些关于色彩和光线的一般性评论，然后探讨以敏锐的方式看待颜色并将所见之物与适当的颜料混合物相匹配的具体方法。"把它放在正确的位置"属于写生（第四章）的范畴。我探讨了各种涂抹油漆的方式，以充分利用颜色并克服一些其局限性。我还描述了如何探索和理解一套颜色调色板，然后利用这些知识帮助看到主题上的颜色块作为简单的混合物。我还必须提到，我将在所有部分讨论色温，因为它渗透到这一主题的每个方面。
DOLLS oil on canvas, 娃娃 油画 布面
The painting above is one of the first of several doll paintings I would do over years. I was fortunate here to have some very distinctive dolls and other objects to work with. I spent as much time seeking out and arranging the things in this picture as I did doing the actual painting. It was this picture, or rather in preparing the set-up for this picture, when I realized a very important principle in still life painting. It was simply this: in every respect, still life painting offers more freedom than any other area of painting, because the artist can select everything to be painted and arrange the things in any way she or he pleases. If something doesn't feel quite right, it can be rearranged, altered or eliminated. Everything about a still life can be precisely what an artist wishes. If at any point in the course of doing the painting there is a change of heart, the change can be made in the still life or in the painting, whichever works best. 上面的画是我多年来做的几幅娃娃画中的第一幅。我很幸运，这里有一些非常独特的娃娃和其他物品可以使用。我花了很多时间寻找和布置这幅画中的东西，就像我做实际绘画一样。正是在这幅画中，或者说是在为这幅画准备布景时，我意识到静物画中的一个非常重要的原则。简单来说就是：在各个方面，静物画比绘画的任何其他领域都更自由，因为艺术家可以选择要绘制的一切，并以任何他或她喜欢的方式布置物品。如果某些东西感觉不太对劲，可以重新布置、修改或删除。静物画的一切都可以完全符合艺术家的愿望。如果在绘画过程中的任何时候有所改变，可以在静物或绘画中进行调整，以找到最佳效果。
NOTE: Before I get into the details about what to mix with what to get such and so, please give some attention to the remainder of this section so you will be familiar with the way light creates color, how colors influence other colors, and why it all behaves the way it does. Remember how earlier in this chapter I briefly outlined color as a consequence of either direct light or reflected light, and local pigmentation. In the coming pages you will find much more about the role of light in producing color. Understanding how that works will help you achieve some welcome color effects, and perhaps spare you from trying the impossible. 注意：在我详细介绍如何混合什么以获得某种效果之前，请注意本节剩余部分，以便了解光是如何产生颜色的，颜色如何影响其他颜色，以及为什么一切都表现出这种方式。请记住，在本章的前面，我简要概述了颜色是直接光线或反射光线以及局部色素的结果。在接下来的页面中，您将了解更多关于光在产生颜色中的作用。了解这一原理将有助于您实现一些令人欣喜的色彩效果，并也许能避免您尝试不可能的事情。
COLOR AND LIGHT 颜色与光线
The first time I saw color television I could hardly believe my eyes. It was the 1950s, I was an art student, and color TV was just coming onto the American market. Our family couldn't afford one, so I had to go to the science museum in Chicago to see what one looked like. The images I saw on the small television screen then were crude up close, but fascinating - like small Pointillist paintings (in motion no less)-but far more brilliant. I was stunned how electronic technology could so easily create the intensity and purity of color I had been trying so unsuccessfully to obtain with my paints (remember I was just a student). And it was all done with the press of a button. It was humiliating (and scary) to see color skills wrenched from my sacred domain by a gang of what I considered to be nerdy technicians. I was jealous, but I was also learning something important. That day in the science museum when I witnessed light creating color, I was transported to my eventual understanding of the entire visual world. 第一次看到彩色电视时，我几乎不敢相信自己的眼睛。那是上世纪 50 年代，我是一名艺术学生，彩色电视刚刚进入美国市场。我们家买不起，所以我不得不去芝加哥的科学博物馆看看。我在小电视屏幕上看到的图像近看有些粗糙，但却很迷人 - 就像小点彩画（还在运动）- 但更加明亮。我惊讶于电子技术如何能够如此轻松地创造出我一直试图用颜料无法获得的颜色的强度和纯度（请记住我只是个学生）。而且只需按一下按钮就能完成。看着我认为是书呆子技术人员团伙夺走我神圣领域中的色彩技能，这让我感到羞辱（和恐惧）。我嫉妒，但我也学到了重要的东西。那天在科学博物馆，当我目睹光线创造颜色时，我被带到了对整个视觉世界的最终理解。
In time of course, I realized as amazing as it was, TV was just another artificial view of reality. It could not reproduce the way things really looked to my eyes, which was my aim as a painter. Electronics and photography could only provide images they were designed to record, and TV can't do anything at all when the plug is pulled. I wanted to replicate what see. 在当然的时间里，我意识到虽然电视很神奇，但它只是现实的另一种人为视角。它无法复制事物在我眼中真实的样子，而这正是我作为画家的目标。电子设备和摄影只能提供它们被设计记录的图像，当电视插头被拔掉时，它什么也做不了。我想要复制 看到的东西。
Remembering the words of Sun Tzu, "Know thine enemy," I looked into the matter and learned color television was created with light instead of pigments, and that I could never match electronic color with my paints no matter what I did. Why? Because what I was seeing on the screen was an illusion created with tiny bits of phosphorescence (light sources), which is not possible to achieve with paint. Electronic monitors, however, do it at a cost which comes in the form of a loss of authentic values and hues. Another discovery was about the limited range of colors and values inherent in electronic propagation. On the positive side I learned the use of colored light, instead of pigments, to produce images is called "additive color" because the hues are created by adding primary colors of light to one another. (Motion pictures and projected photography do essentially the same thing.) 记得孙子的话，“知己知彼”，我深入研究后发现，彩色电视是用光而不是颜料创造的，无论我如何努力，都无法用颜料匹敌电子彩色。为什么呢？因为屏幕上所看到的是由微小的磷光（光源）创造的幻觉，这是无法用颜料实现的。然而，电子监视器以一种代价做到了，这种代价体现在失去了真实价值和色调。另一个发现是关于电子传播中固有的有限色彩和价值范围。积极的一面是我学到了使用彩色光而不是颜料来制作图像被称为“加色法”，因为色调是通过将光的三原色相互添加而创建的。（电影和投影摄影本质上也是这样做的。）
We do something completely different in painting. We use pigments-which merely reflect light. The paints we use absorb (subtract) certain wavelengths of the light they receive, and reflect others. Pure red paint, for example, looks "red" because it absorbs all light rays except those in the red portion of the electromagnetic spectrum. Green paint reflects blue and yellow light, and absorbs red light. Because of this, the colors we work with on our palettes are called subtractive colors. 在绘画中，我们做的事情完全不同。我们使用颜料-仅仅反射光线。我们使用的颜料吸收（减去）接收到的光的某些波长，并反射其他波长。例如，纯红色颜料看起来“红”是因为它吸收了除了红色电磁波谱部分之外的所有光线。绿色颜料反射蓝色和黄色光线，并吸收红色光线。因此，我们在调色板上使用的颜色被称为减色。
And so the first lesson from my encounter with the wonders of television was about the big difference between creating images with light and painting pictures with pigments. 因此，我在接触电视奇迹时学到的第一课是用光创造图像与用颜料绘画图片之间的巨大区别。
My second lesson was about what could and could not be done with my paints, which was definitely a reality trip. I learned that even though I could not duplicate light itself, I nevertheless had to deal with sources of light in my subjects, such as street lights in a city scene, or lamp lights in an interior. Many of the things I attempted to paint consisted of colors that were the result of both additive and subtractive effects. In other words, my subjects, whether they were city streets, landscapes, or illuminated figures in a room, often were combinations of both light sources and reflected light. In a typical landscape, the sky, glowing with diffracted sunlight, was a light source, and almost everything on the ground was reflected light. Naturally, I couldn't make my paint glow like a flashlight, so there had to be another way-and THERE WAS! 我的第二堂课是关于我的颜料可以做什么和不能做什么的，这绝对是一次现实之旅。我学到，即使我无法复制光本身，但我仍然必须处理我的主题中的光源，比如城市场景中的路灯或室内的灯光。我尝试绘画的许多事物都由添加和减少效果产生的颜色组成。换句话说，我的主题，无论是城市街道、风景还是房间里的照明人物，通常是光源和反射光的组合。在典型的风景中，被折射阳光照耀的天空是一个光源，地面上的几乎所有东西都是反射光。当然，我不能让我的颜料像手电筒一样发光，所以必须有另一种方法——而且确实有！
FIRST SOME DEFINITIONS 首先是一些定义
For clarity, here is a short list of color terms (in bold) I use in this discussion: 为了清晰起见，在这里是我在这个讨论中使用的一些颜色术语的简短列表（以粗体显示）：
The Three Primary Colors of artists' pigments are Red, Yellow, and Blue. They are called primary because all other colors are created by some combination of them. It follows that no combination of colors can produce a primary color. They are as primal as the elements in chemistry or the four forces in physics. 艺术家颜料的三原色是红色、黄色和蓝色。它们被称为原色，因为所有其他颜色都是由它们的某种组合创造的。由此可见，任何颜色的组合都不能产生原色。它们就像化学中的元素或物理学中的四种力一样原始。
The Secondary Colors are Green, Orange, and Violet. They are called secondary because each is a mixture of any two of the primary colors. 次要颜色是绿色、橙色和紫罗兰色。它们被称为次要颜色，因为每种颜色都是任意两种主要颜色的混合物。
The Tertiary Colors are various combinations of all three primary colors-the Browns and Gray-Browns. 三次色是所有三原色-棕色和灰棕色的各种组合。
A Complementary Color is usually thought of as the color opposite another on the color wheel, which it indeed is (page opposite). Technically speaking, the complement of a color is the color that transforms it into a Tertiary Color. Confusing? Here it is in plain words using the primary color Red as an example: 互补色通常被认为是在色轮上与另一种颜色相对的颜色，事实上确实如此（对页）。从技术上讲，一种颜色的补色是将其转变为三次色的颜色。感到困惑了吗？以下是以红色为例用简单的话语解释：
The complement of red is green. OK so far. 红色的补色是绿色。目前还好。
Green is a mixture of yellow and blue. 绿色是黄色和蓝色的混合。
Therefore, when we add green to red, we get our old primary friends, red, yellow and blue again! 因此，当我们将绿色添加到红色中时，我们再次得到我们的老朋友红色、黄色和蓝色！
We now have our three primaries mixed together. In other words we have a Tertiary color! What a trick! 我们现在把我们的三原色混合在一起。换句话说，我们得到了一种三次色！多么巧妙！
By the way, this is the origin of a widely taught belief that a color can be "neutralized" by adding its complement. Perhaps I am just mincing words, but in my almost seventy years of painting, I have yet to see a "neutral" color. Adding a complement makes a new color, that's all. Incidentally, the word complement should not be confused with compliment, which is a word of praise. Complement means completion, as in a full complement of soldiers, or teeth. A Tertiary mixture is a full complement of all three primary colors. 顺便说一下，这是一个被广泛传授的信念的起源，即通过添加其补色可以使一种颜色“中和”。也许我只是在挑剔用词，但在我近七十年的绘画生涯中，我还没有见过“中性”颜色。添加一个补色只会产生一种新颜色，仅此而已。顺便提一下，补色这个词不应与赞美的“compliment”混淆。Complement 的意思是完整，比如一个完整的士兵队伍或牙齿。三次混合是所有三原色的完整组合。
The words Saturation, Intensity, Pure or Purity, and Richness, have the same basic meaning. All refer to the degree of vividness of a color, such as how "red" a red is, or how "blue" a blue is. A totally saturated pure red, for example has no trace of any other pigment in its composition. Pure Yellow is only yellow, and so on. (Neither would pure colors contain any white or black.) I sometimes use the word Gray in this text. As a noun I use it as a convenient word for a color of lower saturation or purity, in a sentence such as this: "This is a gray red (or grayer) compared to the other reds." Using the word gray as a verb I might say, "If I gray this red it will be correct." All colors can be grayed (reduced in saturation by adding its complementary color). 饱和度、强度、纯净或纯度以及丰富度这些词具有相同的基本含义。所有这些词都指颜色的鲜艳程度，比如“红色”有多红，或者“蓝色”有多蓝。例如，完全饱和的纯红色不含任何其他颜料的痕迹。纯黄色只有黄色，依此类推。（纯色也不包含任何白色或黑色。）我有时在文中使用“灰色”这个词。作为名词，我将其用作表示饱和度或纯度较低的颜色的便捷词，比如这样的句子：“这是一种灰红色（或更灰）相比其他红色。”作为动词使用“灰化”这个词，我可能会说：“如果我把这个红色灰化，它就会正确。”所有颜色都可以被灰化（通过添加其互补色来降低饱和度）。
THE COLOR WHEEL 色轮
The color wheel is simply the visible part of the electromagnetic spectrum arranged in a circle. Colors immediately next to one another are what most people consider harmonious, such as green with blue-green, yellow-green and yellow. Colors opposite one another (directly across the circle) are described as complementary because when they exist as colored light and are then combined, they create white light. We painters are not so fortunate. When we mix complementary pigments together, we risk creating a brown mud. 色轮简单地是电磁光谱的可见部分，按照圆圈排列。紧挨在一起的颜色是大多数人认为和谐的，比如绿色与蓝绿色、黄绿色和黄色。彼此相对的颜色（直接在圆圈对面）被描述为互补色，因为当它们作为有色光存在并结合时，它们会产生白光。我们画家就没有那么幸运。当我们混合互补的颜料时，我们有可能创造出褐色的泥浆。
The color wheel as such does not exist in nature. It is a simple diagram showing the component colors of white light, such as sunlight, when it is optically split by a prism or raindrops (giving us a rainbow). The only noteworthy thing to notice is when you mix colors exactly opposite one another on the wheel, you always end up with some combination of the three primary colors mixed together. The wheel might make an interesting design on a dinner plate though. 色轮本身并不存在于自然界中。它是一个简单的图表，展示了白光的组成颜色，比如阳光，当它被棱镜或雨滴光学分解时（形成彩虹）。唯一值得注意的是，当你混合轮子上彼此完全相反的颜色时，你总是最终得到三种原色的某种组合。尽管如此，色轮在餐盘上可能会成为一个有趣的设计。
The words Color or Colors, Hue, Tint, Tone, and Shade, all refer to a particular Family of color. The family of Reds, for example, are all the pigment mixtures, or colors in a subject, in which Red predominates, such as Red Orange, Scarlet, all Cadmium Reds, Terra Rosa, Venetian Red, Quinacridone Violet or Red, Vermillion, Madders, the Alizarins, Pink, Magenta, and all shades of Gray or Brown in which red predominates. Likewise, the Blue family of colors is comprised of all blue colors as they come from their tubes, all blue dominant mixtures, and all colors in a subject in which blue predominates, and so on through the entire palette. 颜色或色彩、色调、色调、色调和阴影这些词语都指的是一种特定的颜色系。例如，红色系包括所有红色为主的颜料混合物或颜色，如红橙色、猩红色、所有的镉红、地中海红、威尼斯红、喹啉紫或红、朱砂、茜草染料、茜素、粉红、品红，以及所有红色为主的灰色或棕色调。同样，蓝色系包括所有从管中挤出的蓝色、所有蓝色为主的混合物，以及所有蓝色为主的主题中的所有颜色，依此类推，贯穿整个调色板。
White and Black are discussed further along in this section. While neither is a color in the usual sense, adding them to colors to lighten or darken them creates new colors, not just lighter or darker ones. For example, adding white to red to lighten it does indeed create a lighter red, but that is not all it does, because adding the white also makes the red cooler, which is a new color. 在本节中，白色和黑色将进一步讨论。虽然它们在通常意义上不是颜色，但将它们添加到颜色中以使其变浅或变深会创造出新的颜色，而不仅仅是更浅或更深的颜色。例如，将白色添加到红色中使其变浅确实会创造出一种更浅的红色，但这并不是它的全部作用，因为添加白色还会使红色变得更凉爽，这就是一种新的颜色。
LIGHT TEMPERATURE and PAINT COLOR TEMPERATURE 光温度和油漆颜色温度
The color temperature of light and the color temperatures of the paints we use are closely related, yet they are two quite different ways color comes to us. These differences are explained in detail in the following text. 灯光的色温和我们使用的油漆的色温密切相关，但它们是两种完全不同的颜色呈现方式。这些差异将在接下来的文本中详细解释。
THE COLOR TEMPERATURE OF LIGHT 光的色温
Technically speaking, the color of a ray of LIGHT is due to very specific properties it possesses-its frequency and wavelength. Red light, for example, radiates only within the frequencies of 400 to , with wavelengths of 630 to . Consequently, red light always looks the same no matter what. It cannot change its properties. The same holds true for all colors of light. Each one comes to us in its own specific range of frequencies. 从技术上讲，一束光的颜色是由它具有的非常特定的属性决定的 - 它的频率和波长。例如，红光只在 400 到 的频率范围内辐射，波长为 630 到 。因此，红光无论如何看起来总是一样的。它无法改变其属性。对于所有颜色的光来说也是如此。每种颜色的光都以自己特定的频率范围传递给我们。
There is also a subjective side of light (our experience of it), and it goes like this: eons ago, we humans went about inventing and establishing certain cultural ideas about light, such as light being warm or cold, or divine, or scary, or good for curing warts, or whatever. My guess is our ancestors associated orange, yellow, and red with the warmth of sunlight and firelight. Blues and purples and grays may have been connected to things like coldness and death. Whatever the case, those notions and their variations have continued more or less unchanged through countless generations, and have come down to us today. 光线还有一个主观方面（我们对它的体验），大致如下：亿万年前，我们人类开始创造和确立了关于光的某些文化观念，比如光是温暖的或寒冷的，或神圣的，或可怕的，或有助于治疗疣等等。我猜想我们的祖先将橙色、黄色和红色与阳光和火光的温暖联系在一起。蓝色、紫色和灰色可能与寒冷和死亡等事物有关。无论如何，这些观念及其变体经过无数代人的传承，基本上保持不变，一直传承至今。
Any source of light then, whether it's the sun, your florescent bathroom fixture, or a lighted match, is still described as cold, cool, warm, or hot, or some variant of those. We take it for granted we are correct in saying a light having more red and yellow waves in it than blue waves, is a warm light. If it shines with more blue waves than red or yellow ones, we say it is a cooler light. This is the way I talk about color as well, and probably the way you do too. We all put temperature tags on colors. Simple! 任何光源，无论是太阳、浴室的荧光灯具，还是点燃的火柴，仍然被描述为冷、凉、暖或热，或者是这些变体之一。我们理所当然地认为，当一束光中红色和黄色波浪比蓝色波浪多时，这是一种暖色光。如果它发出的蓝色波浪比红色或黄色波浪多，我们会说这是一种较凉的光。这也是我谈论颜色的方式，很可能也是你的方式。我们都给颜色贴上温度标签。简单！
Well, perhaps not exactly simple (and not that it really matters), but the familiar terminology we use to describe the temperature of light is exactly backwards. In the strict world of the Thermodynamic Laws in Physics, the hotter an energy source is, the bluer its light is. Conversely, as an energy source actually cools, it changes from yellow, through orange, and then to red (not the other way around as we are accustomed to thinking). 也许并不完全简单（而且这并不重要），但我们用来描述光温度的熟悉术语却完全相反。在物理学中严格的热力学定律世界中，能量源越热，其光就越蓝。相反，当能量源实际冷却时，它会从黄色变成橙色，然后变成红色（而不是我们习惯思考的反过来）。
Despite this odd duality, there is presently little danger of anyone changing the ways we speak of color in the near future, however quaintly wrong it may be. (Not unless a great many physicists take up painting tomorrow.) We artists know perfectly well what we mean by warm and cold. Such attributions have been deeply ingrained into our thinking as well as our language for too long. It has been with us since childhood, so it seems perfectly natural for us-like the way we still say of a modern turbine-driven cargo ship that it is setting sail when it leaves port. What always matters in the end is not what or who is correct, but what works. 尽管存在这种奇怪的二元性，目前几乎没有人会改变我们谈论颜色的方式，无论这种方式有多么古怪错误。（除非明天有很多物理学家开始学画画。）我们艺术家非常清楚我们所说的温暖和寒冷是什么意思。这些属性已经深深地根植在我们的思维和语言中太久了。这种认识从童年时代就一直伴随着我们，所以对我们来说似乎非常自然，就像我们仍然说现代涡轮驱动货船离港时是在起航一样。最终重要的不是什么或者谁是正确的，而是什么是有效的。
I painted this iconic street scene in Naples in the late afternoon with sunlight coming in from the right, dramatically striking the sides of stucco structures, and leaving the remainder of the scene in shadow. 我在那不勒斯的一个傍晚用油画描绘了这个标志性的街景，阳光从右侧照射进来，戏剧性地打在灰泥建筑的侧面上，使整个场景的其余部分都笼罩在阴影之中。
I had already spent considerable time in Italy and painted several other streets like this, so I was prepared for the colors and values where one part of the canvas was in bright, hot sunlight, and the remainder in cool light from the sky above. 我已经在意大利花了相当多的时间，画过几条类似的街道，所以我对颜色和价值有所准备，其中画布的一部分处于明亮炎热的阳光下，其余部分则受到来自天空的凉爽光线的照射。
While you might think this was a complicated problem in light temperature, it was actually quite simple: all of the light values caused by the sun were very warm colors, where I used Cadmium Red, Cadmium Yellow, and Cadmium Orange, all raised to a higher value with white. The shadow areas, however, were very cool, but the very darkest accents within those cool areas were warm mixtures of Alizarin Deep and Phthalo Green. 尽管你可能认为这是一个关于光温度的复杂问题，但实际上它非常简单：太阳造成的所有光值都是非常温暖的颜色，我使用了镉红、镉黄和镉橙，都加入了白色提高了色值。然而，阴影区域非常凉爽，但在这些凉爽区域中最深的重点部分是由茜素深和酞菁绿的温暖混合色组成的。
It was also nice to be able to paint this scene with my canvas and palette in the cool shadows of the street. Wherever and whenever it is possible, I always try to have my palette and canvas in the same moderate light. I can then make accurate judgements about my colors and values. If I cannot avoid painting out in full sunlight, I try to make sure both my palette and canvas are in full sunlight. I do this because although I must put up with the extreme brightness of sun on my canvas, I can at least have the same brightness on my palette, which means what I mix on my palette will look the same on my canvas. 在街道阴凉的地方，能够用画布和调色板描绘这一场景也是一种享受。无论何时何地，只要可能，我总是尽量让我的调色板和画布处于同样的适度光线下。这样我就能准确判断颜色和价值。如果无法避免在强烈阳光下作画，我会确保调色板和画布都置于阳光下。因为尽管我必须忍受阳光对画布的极端亮度，但至少我的调色板也能有同样的亮度，这意味着在调色板上混合的颜色在画布上看起来也是一样的。
However, there remains a serious element of uncertainty in working in sunlight because the brightness results in a tendency to mix colors slightly darker without realizing it. Also the pupils of my eyes contract to pinpoints, which interferes with seeing color. 然而，在阳光下工作仍然存在严重的不确定因素，因为明亮会导致颜色略微变暗而不自知。此外，我的瞳孔会收缩成针尖状，影响了看颜色。
STREET IN NAPLES oil on canvas, , Italy, 1967 那不勒斯街头 油画， ，意大利，1967
THE COLOR TEMPERATURES OF OUR PAINTS 我们油漆的色温
Unlike the colors in light, which as we learned have permanent and invariable temperatures, the pigments on our palettes have only apparent temperatures. These apparent (or effective) temperatures of our palette colors can change dramatically from one situation to the next. Palette colors do NOT have specific color temperatures. Their temperatures are not fixed and immutable properties. Whether they are oils, watercolors, pastels, acrylics, crayons, or any medium, the colors we use depend upon the ambient light we work in and the initial colors already in a painting for the way the rest of our colors will appear to be as we apply them. Those temperatures, whether they look warm or cool, hot or cold, are entirely relative to the overall color harmony of the particular painting they are in. It is a variable effect that fluctuates from one picture to the next. For example, the green I used to paint grass in one sketch done in overcast light did not work in a painting of the same grass in sunlight. 与我们所学到的光线中的颜色不同，那些具有永久和不变温度的颜料在我们的调色板上只有表面温度。我们调色板上颜料的这些表面（或有效）温度在不同情况下可能会发生巨大变化。调色板上的颜料并没有特定的色温。它们的温度不是固定和不可改变的属性。无论是油画颜料、水彩、粉彩、丙烯颜料、蜡笔还是其他任何媒介，我们使用的颜色取决于我们工作的环境光线以及绘画中已有的初始颜色，这些因素会影响我们涂抹时其余颜色的外观。这些温度，无论看起来是温暖还是凉爽，炎热还是寒冷，完全取决于它们在特定绘画作品中的整体色彩和谐。这是一个会随着每幅画而变化的可变效果。例如，在阴天光线下绘制的一幅素描中用来描绘草地的绿色，在同一片阳光下的绘画中却不适用。
BELIEVE ME, ALL THIS IS TRUE 相信我，这一切都是真实的
Yes, if you only look at my palette in the photo below, the colors are conspicuously warm, or hot, or cool, or cold, compared to one another, but put them in a painting along with hundreds of other colors and shades in a typical work, and they change their appearances like a convention of nervous chameleons. Besides, looking at the photo is the same as looking at a painting of my palette. So the temperature relationships in this case are indeed appropriate and quite correct. 是的，如果你只看下面照片中的调色板，颜色相对于彼此而言，明显是温暖的、炽热的、凉爽的或寒冷的，但将它们放在一幅典型作品中的数百种其他颜色和色调中，它们的外观就会像一群紧张的变色龙一样改变。此外，看照片就等同于看我的调色板的画作。因此，在这种情况下，温度关系确实是适当且相当正确的。
My studio palette rests on a taboret. The curve of the colors is a result of the reach of my arm with a brush as I am sitting. 我的工作室调色盘放在一个 的小几上。颜色的曲线是由我坐着用刷子伸出手臂的距离决定的。
WINTER PINES 冬季松树
oil on canvas, 帆布油画，
I include the two works on this page together to show how varied the mood can be in landscapes as a result of a different light on each. 我将这两幅作品放在同一页上，以展示不同光线下风景的情绪变化。
The intensity and color temperature of the light in WINTER PINES (right) is dramatically different than in VERMONT WINTER (below). 冬季松树（右侧）中的光线强度和色温与佛蒙特冬季（下方）截然不同。
I am not saying one lighting situation is necessarily better or worse than another, but there is no question the quality of the light creates the mood. I happen to like a wide range of ambience, depending perhaps on my own state, so I must be ready with a variety of responses. 我并不是说某种照明情况一定比另一种更好或更差，但毫无疑问，光线的质量会营造出氛围。我恰好喜欢各种不同的氛围，可能取决于我的状态，所以我必须准备好各种不同的应对方式。
VERMONT WINTER 佛蒙特州的冬天
oil on canvas, 帆布油画，
To prove the point I made above, one glance at VERMONT WINTER (right) makes it clear that light is the key in these works, as well as in most of my other paintings. 为了证明我上面所说的观点，只需一眼看看《佛蒙特州的冬天》（右图），就能清楚地看出光线是这些作品的关键，也是我大部分其他绘画作品中的关键。
Even in pictures or sketches where the drawing, the design, or some other visual element is my main point, I always think carefully about in what type of light I wish to express those things. For example, if I am doing a sketch where the fascinating shape or intricacy of drawing is my message, then a strong light with strong shadows will not do. Only a much softer light will bring out what I see in my subject. 即使在图片或素描中，绘画、设计或其他视觉元素是我的重点，我总是仔细考虑我希望用什么类型的光线来表达这些事物。例如，如果我正在做一幅素描，其中吸引人的形状或绘画的复杂性是我的信息，那么强烈的光线和浓重的阴影就不合适。只有柔和的光线才能展现出我在主题中看到的东西。
In essence then, and to repeat: temperature is how a color looks to us when it is with its neighboring colors. It isn't always going to be what a color looked like when you unscrewed the paint tube cap for a look in the art store. Nor is it necessarily how a color feels physically or emotionally, although those factors are probably a large part of the origins of the concept. On the other hand, I don't know about you, but I must confess I feel a whole lot warmer in my long red underwear than in my plain old gray pair. 从本质上讲，重申一遍：温度是当一个颜色与其相邻的颜色在一起时，我们看到的样子。它并不总是当你打开油漆管盖子在艺术商店里看时颜色的样子。也不一定是颜色在感觉上或情感上的感受，尽管这些因素可能是这个概念起源的很大一部分。另一方面，我不知道你怎么想，但我必须承认，穿着长长的红色内衣比穿着普通的灰色内裤感觉温暖得多。
Whatever the associations were and still are, the idea that reds and yellows are intrinsically "hot" or "warm," and blues are "cool" or "cold," is customary in our everyday language and thinking. As I learned in my studies in General Semantics, it is the conveying of meaning, not smartness, which counts in communication with others. All of us identify cool pigments as those leaning toward blues, greens, and violets; and warm pigments as leaning to reds, or yellow, or the orange family. If I ever tried to use the Thermodynamic version of color temperature in discussing color here, you'd probably think I'd taken leave of my senses. 无论过去和现在的联系是什么，红色和黄色本质上是“热”的，而蓝色是“凉”的，这种想法在我们的日常语言和思维中是习惯的。正如我在普通语义学的学习中所了解的，传达意义而不是聪明才智在与他人交流中是最重要的。我们都认为，冷色调颜料倾向于蓝色、绿色和紫罗兰色；而暖色调颜料则倾向于红色、黄色或橙色系列。如果我在这里讨论颜色时尝试使用热力学版本的色温，你可能会认为我失去了理智。
SEEING IT RIGHT 看到它的正确方式
Local colors in my subject are powerfully influenced by the temperature of the light shining upon it, so my first job is to find out if the light is warm or cool, and to what degree. I make sure to identify the temperature of the light on the subject before I start to paint, and keep the temperature relationship consistent throughout the entire course of my painting-no matter what! (And assuming I got it right.) If I should ever start without knowing for sure how warm or cool the light on my subject is, I'd be up the proverbial creek without a paddle. 我的主题中的本地色彩受到照射其上的光线温度的强烈影响，因此我的第一项工作是找出光线是暖色还是冷色，以及程度如何。在开始绘画之前，我确保确定主题上的光线温度，并在整个绘画过程中保持温度关系一致-无论如何！（假设我弄对了。）如果我应该在不确定主题上的光线是暖色还是冷色的情况下开始，那么我将一筹莫展。
THE GREAT (AND NEARLY PERFECT) COLOR AXIOM 伟大的（几乎完美的）色彩公理
If for some reason I cannot decide the temperature of a light source, here are two very handy natural facts about light and shadow to help me (and you): 如果由于某种原因我无法决定光源的温度，这里有两个非常有用的关于光和阴影的自然事实可以帮助我（也可以帮助你）：
So all I have to do is look at the shadows on my subject! If they are warmer than the light areas, then the light source must be cool. If the shadows are cooler than the light areas, I know my light source is warm! If I have any doubt, or if the temperature difference between the light and shadow is too subtle to make a clear distinction, I have a sure-fire way to determine a shadow's temperature. First, I place a small sheet of white paper or cloth somewhere in with my subject, or in the same light. Then I place an object on the white paper in order to cast a shadow. The temperature of the cast shadow will usually be clearly either cooler or warmer than the area of the paper outside the shadow. 所以我只需要看我的主体上的阴影！如果它们比光线区域暖，那么光源必须是凉的。如果阴影比光线区域凉，我知道我的光源是暖的！如果我有任何疑问，或者光与影之间的温差太微妙，无法清晰区分，我有一种确定阴影温度的绝对方法。首先，我在我的主体的某处或同一光线下放一张小白纸或布。然后我在白纸上放一个物体以投射阴影。投射阴影的温度通常会明显比白纸阴影外的区域要凉或者要暖。
Now I have gotten pretty good at recognizing warm and cool differences when I see them, but if I do this little trick and I still can't tell what the light temperature is, it means the light is so evenly balanced, it is neither warm nor cool dominant. This rarely happens, but when it does, it simply means I don't have to be concerned at all about temperature changes in my mixtures when going from light to shadow. I only have to make things lighter or darker without also making those value changes noticeably warmer or cooler. 现在我已经相当擅长在看到时识别温暖和凉爽的区别，但如果我使用这个小技巧仍然无法判断光的温度是什么，那意味着光是如此均衡，既不偏向温暖也不偏向凉爽。这种情况很少发生，但当发生时，这只意味着我在从明到暗时不必担心混合物中的温度变化。我只需要让事物变得更明亮或更暗，而不必使这些价值变化明显变暖或变凉。
Of course if all of the above is too much bother, I can always cheat by running down to the camera store and picking up a photo color meter, but it would merely reveal what the meter was measuring, not how I see the light. There is a big difference; I am far more than a mechanical recording device. Besides, if I'm out landscape painting and I've neglected to charge the meter, I'm up that creek again. 当然，如果上述所有事情都太麻烦了，我总是可以通过跑到相机店买一个照片色彩测光表来作弊，但那只会揭示测光表在测量什么，并不能展现我看到光线的方式。这有很大的区别；我远不止是一个机械记录设备。此外，如果我在户外写生时忘记给测光表充电，那我又遇到麻烦了。
WARMLIGHT 温暖的光
Honestly, these two images were not altered in color nor exaggerated in Photoshop! The top picture here was lit with an ordinary 150 watt tungsten light bulb. The bottom example was shot under my north light window 老实说，这两幅图像的颜色没有经过修改，也没有在 Photoshop 中夸大！这里的顶部图片是用普通的 150 瓦钨丝灯泡照亮的。底部的示例是在我北面的自然光窗户下拍摄的。
Notice in this top example how the warm color of the light, perhaps Yellow Ochre with White produced an almost blue shadow. 请注意在这个顶部的例子中，光的暖色调，也许是黄土与白色混合产生了几乎是蓝色的阴影。
Usually the striking difference in temperature is not as great as it is here, but there will always be this warmth in the light and relative coolness in the shadows. Curiously though, any darks within the shadow will be warm. 通常温差不会像这里这么大，但光线中总会有温暖，阴影中总会有相对凉爽。有趣的是，阴影中的任何暗部都会显得温暖。
COOL LIGHT 酷光
As you see in this picture everything is the same except for the light, which is as mentioned, the cool light from my big north window. If this were a painting I would probably mix Cobalt Blue with a touch of Transparent Oxide Brown and White for the light. For the shadow I would warm and darken the mixture by increasing the amount of brown. 正如您在这幅图片中所看到的，除了光线之外，一切都是一样的，正如我所提到的，这是来自我大北窗的凉爽光线。如果这是一幅画，我可能会混合钴蓝，加入少许透明氧化棕和白色来描绘光线。对于阴影，我会通过增加棕色的量来使混合物变暖和变暗。
The nice thing about cool light is it cooperates with our pigments because we usually add white to lighten our mixtures, and since white is the coolest color on our palette, it also cools the light at the same time. 凉爽光线的好处在于它与我们的颜料配合得很好，因为我们通常会添加白色来调亮我们的混合物，而且由于白色是调色板上最凉爽的颜色，它也同时冷却了光线。
The phenomenon of cool light producing warm shadows, and warm light yielding cool shadows is probably as close to a color law as I know of. It is also one of the most direct and elegant gifts we have in understanding the behavior of light. Think of it! All we have to remember is that light switches! (Pardon my pun.) It reverses itself whenever it changes from warm to cool, or the reverse. I wish I could say it is invariable, that there are never any exceptions, but like Newton's First Law, when a given light is acted upon by an outside influence, the warm-cool principle can sometimes falter. Nature is never wholly cooperative, and there are circumstances when the attributes fluctuate. This can happen when light is traveling through a more or less transparent substance (like water), or more often, when there is reflected light bouncing into shadows. In such cases a warm light (such as from a tungsten light bulb) may produce even warmer shadows. Very often a subject's clothing, particularly a blouse or shirt, can reflect upward and change the colors and values under the chin in an ambiguous way. Such occurrences, however, usually happen only in isolated parts of the overall subject. 冷光产生温暖阴影的现象，温暖光线产生凉爽阴影的现象，可能是我所知道的最接近颜色规律的事物之一。这也是我们在理解光线行为方面拥有的最直接、最优雅的礼物之一。想想看！我们只需要记住光线会变换！（请原谅我的双关语。）每当光线从温暖变为凉爽，或反之时，它就会反转。我希望能说这是不变的，从不会有例外，但就像牛顿第一定律一样，当某种光线受到外部影响时，温暖-凉爽原则有时会出现失误。大自然从不完全合作，有时属性会波动。当光线穿过半透明物质（如水）时，或更常见的是，反射光线反射到阴影中时，就会发生这种情况。在这种情况下，温暖光线（如钨丝灯泡发出的光线）可能会产生更温暖的阴影。很多时候，主体的衣物，特别是衬衫，会反射上升，并以一种模糊的方式改变下巴下面的颜色和价值。然而，这种情况通常只会发生在整体主体的孤立部分。
Still, I have to be on the alert for surprises. I have seen colors in nature I could never have imagined, colors such as the lurid blue of the Mediterranean in bright sunlight, and the deep ultramarine in the crevasses of Alaska's monstrous glaciers. In such cases (as in life), nature calls the shots and explanations are pointless-just do it—paint it the way it looks as best you can, and don't try to figure it out. Remember also, such things are, after all, exceptions. Most of what is out there will just be fun. 尽管如此，我仍然必须警惕突如其来的惊喜。我曾看到大自然中的颜色，这些颜色是我从未想象过的，比如地中海在明亮阳光下的耀眼蓝色，以及阿拉斯加庞大冰川裂缝中的深邃群青色。在这种情况下（就像生活中一样），大自然说了算，解释是毫无意义的——只管去做吧——尽力将它描绘出来，不要试图弄清楚。还要记住，这些事情毕竟是例外。大部分情况下，那些只是为了好玩。
YOUR WORKING LIGHT 您的工作灯
I work mostly under natural daylight, but I have excellent studio lighting for those times when I need it. I've been at this for a long time, so by now I know which light sources are going to be warm, and which are likely to be cool. Some familiar sources of warm light are: direct sunlight, incandescent (tungsten) lamps, candlelight, firelight, etc. Some familiar examples of cool light are: north daylight, fluorescent lamps including the energy saving screw-in types ( 5000 to ), certain kinds of street lighting, and some photographic lamps. Incidentally, the "K" in refers in Physics to the Kelvin scale of absolute temperature. Lighting engineers rate light in "K" degrees. Photoflood bulbs are about 4500 to , household bulbs about 3000 to . Clear bluesky daylight is around . Light emitting diode (LED) lights are semiconductor light sources and are increasingly available these days. Though expensive, they are very energy efficient, remarkably long lasting, and come in just about any color temperature and lamp type you'd want. 我主要在自然日光下工作，但在需要时我有出色的工作室照明。我已经从事这个行业很长时间了，所以我知道哪些光源会是温暖的，哪些可能是凉爽的。一些熟悉的温暖光源包括：直射阳光、白炽（钨丝）灯、烛光、火光等。一些熟悉的凉爽光源包括：北方日光、荧光灯，包括节能螺旋型（5000 到 0K）、某些类型的街道照明和一些摄影灯。顺便提一下，“K”在物理学中指的是开尔文绝对温度标度。照明工程师以“K”度数评价光线。泛光灯泡约为 4500 到 0K，家用灯泡约为 3000 到 0K。晴朗的蓝天日光约为 0K。发光二极管（LED）灯是半导体光源，如今越来越普遍。尽管价格昂贵，它们非常节能，寿命非常长，而且几乎可以提供您想要的任何色温和灯具类型。
Some lights I have had to work under have changed the color temperature appearance of my entire palette. Once, while doing a painting demonstration at the Metropolitan Museum of Art in New York, I had to work under special motion picture lights so the event could be digitally recorded. The illumination was, of course, well balanced for the cameras, but they so distorted the look of my subject, my canvas, and palette colors, I thought I'd go nuts, or blind. Seven hundred artists were in the audience watching me paint. How many sensed I had no idea what I was doing, I'll never know. 我曾经不得不在一些灯光下工作，这些灯光改变了我整个调色板的色温外观。有一次，在纽约大都会艺术博物馆进行绘画示范时，我不得不在特殊的电影灯光下工作，以便活动可以被数字记录下来。当然，这种照明对摄像机来说是平衡的，但它们扭曲了我的主题、画布和调色板的颜色，我觉得自己要疯了，或者要瞎了。七百名艺术家在观众席上观看我作画。有多少人感觉到我不知道自己在做什么，我永远不会知道。
There is no bad light except light too dim to see anything. Some light is just easier to work in than others. On another occasion I was demonstrating a still life painting as a fundraiser before an audience, with only a pink spotlight to work by. Under such ghastly illumination, my reds and yellows looked gray, blues and greens appeared black, and so on. It was a color nightmare. The result though was fascinating (for want of a better word), because I had no true idea of what I was doing. It wasn't a bad picture, because it was well-drawn, but when I saw it under normal light, it was not what I thought I had painted. It was definitely a learning experience. The point is at least I came up with something-which wouldn't have happened if there were no light at all. 除了太暗以至于看不见任何东西的光线外，没有坏的光线。有些光线比其他光线更容易操作。另一次，我在观众面前作为筹款活动展示静物画，只有一个粉红色聚光灯可供使用。在如此可怕的照明下，我的红色和黄色看起来灰暗，蓝色和绿色看起来黑色，依此类推。这是一个色彩噩梦。然而，结果却是迷人的（缺乏更好的词语），因为我对自己在做什么毫无真实概念。这不是一幅糟糕的画，因为它画得很好，但当我在正常光线下看到它时，它并不是我认为自己画的样子。这绝对是一次学习经历。重点是至少我创作了一些东西——如果没有任何光线，这是不可能发生的。
The photo opposite shows my studio setup and three of the four large north light windows. Each window measures four feet by eight feet high, and the bottom of the window is eight feet above the floor. To give you a little more scale, my easel is seven feet tall. 对面的照片展示了我的工作室布置和四个大北光窗户中的三个。每个窗户尺寸为四英尺乘八英尺高，窗户底部离地面八英尺。为了让您更好地了解尺寸，我的画架高七英尺。
Below you see my homemade outdoor painting box and the second-hand tripod I have converted into an easel. Notice how everything folds up nicely and then unfolds into a portable studio. The paintbox as you see is quite low because at my age I usually sit in a folding chair when I paint. Not shown are the umbrellas I take along for sunny and rainy days. 下面您看到的是我自制的户外画盒和我改装成画架的二手三脚架。请注意一切如何整洁地折叠起来，然后展开成一个便携式工作室。正如您所见，画盒相当低，因为在我这个年纪，我通常在画画时坐在折叠椅上。没有显示的是我随身携带的遮阳伞，用于晴天和雨天。
Most of the rest of what I need is out of sight in my paintbox along with the chocolate bars and cookies. 我需要的大部分东西都藏在我的调色盒里，还有巧克力和饼干。
At the very minimum you need to be able to see your subject and canvas well enough to paint without guessing at the colors. Van Gogh is not the best example, but if Hollywood movies can be believed, he painted in Paris along the Seine at night with several candles stuck on the brim of his hat (Lust For Life, 1956). If that were really true, it might explain some of his use of color. I don't recommend turning yourself into a human Christmas tree like poor Vincent, not in these times when you could strap a few LED flashlights on your head instead. 在最低限度，您需要能够清晰地看到您的主题和画布，以便在绘画时不必猜测颜色。梵高并不是最好的例子，但如果好莱坞电影可信的话，他曾在塞纳河畔的巴黎夜晚绘画，帽檐上插着几支蜡烛（《热情岁月》，1956 年）。如果那是真的，这或许可以解释他对颜色的运用。我不建议像可怜的梵高那样把自己变成一个人类圣诞树，尤其是在这个时代，您可以选择在头上绑几个 LED 手电筒。
Seriously, always try for the best light you can. Your light should be steady too. Ideally it should be the same average brightness throughout your working period. When illumination diminishes gradually, as often happens with natural light in late afternoon, your perception of dark colors fails long before your perception of light colors. It always happens gradually, so you might not notice. The ideal light to work with is a source that provides nearly (but not quite equal) amounts of the visible spectrum - in other words, almost equal measures of red, yellow, and blue. I say "almost equal" because, in my experience, the conditions are more interesting if one color is slightly dominant. It is also much easier to identify the light temperature if one color stands out. 认真地，始终努力追求最佳光线。你的光应该是稳定的。理想情况下，它应该在你工作期间保持相同的平均亮度。当照明逐渐减弱时，通常在傍晚自然光线中经常发生，你对深色的感知会比对浅色的感知提前失败。这种情况总是逐渐发生，所以你可能没有注意到。最理想的工作光源是提供几乎（但不完全相等）可见光谱的光源 - 换句话说，几乎相等的红色、黄色和蓝色。我说“几乎相等”，因为根据我的经验，如果一个颜色稍微占优势，条件会更有趣。如果一个颜色突出，识别光的温度也更容易。
THE BEST LIGHT 最佳光线
My idea of perfect light for painting (outdoors or in my studio) is a bright high overcast in the summer during the middle hours of the day. Why summertime? Because the days are longer and the sun is higher in the sky. Why overcast? Because sunlight is diffused evenly throughout the cloud layer, and it produces the near ideal color balance I mentioned above. Overcast also tends to be stable, providing generous time for painting. 我对绘画的完美光线的想法（户外或在我的工作室）是在夏天的中午时分，天空明亮而高高的阴天。为什么选择夏天？因为白天更长，太阳更高。为什么选择阴天？因为阳光均匀地穿过云层，产生了我上面提到的几乎理想的色彩平衡。阴天也往往比较稳定，提供了充裕的时间来绘画。
A painting done under such conditions will look good under almost any subsequent light, but a work done under extremes of hot or cold light will usually appear correct only under the same lighting conditions. For example, a painting done while bright sunlight is on the canvas will look very different when brought indoors. When painting in sunlight is unavoidable, at least try to have both your palette and canvas in the sun, so the colors you mix on your palette will look the same when you place them on your picture. 在这种条件下完成的绘画在几乎任何后续光线下看起来都很好，但在极端炎热或寒冷的光线下完成的作品通常只会在相同的照明条件下看起来正确。例如，在明亮阳光照射在画布上时完成的绘画，当带到室内时会看起来非常不同。当无法避免在阳光下绘画时，至少尝试让调色板和画布都处于阳光下，这样你在调色板上混合的颜色放到画面上时看起来会一样。
However, be aware of the varying temperature ranges which can occur under overcast light. Nature does not always produce an overcast light conspicuously cool. Sometimes the light can be so evenly balanced, the light and shadow temperatures will be nearly identical (as described at the bottom of page 202). I have seen this happen most often when the overcast ceiling is so low it constitutes fog, but it can occur under almost any overcast situation. This can be very challenging. What to do? Well, you can't change what nature is doing with her clouds. I just accept the colors I see, and do the best I can to match them. I tell myself the colors in the light are what they are, and the darks are simply the same colors only darker without being obviously warmer or cooler. 然而，请注意在阴天光线下可能出现的不同温度范围。大自然并不总是产生明显凉爽的阴天光线。有时光线可以如此均衡，光与影的温度几乎相同（如在 202 页底部所述）。我经常看到这种情况发生在阴天天花板如此低，以至于构成了雾，但几乎可以发生在任何阴天情况下。这可能非常具有挑战性。怎么办？嗯，你无法改变大自然云朵的运动。我只是接受我看到的颜色，并尽力去匹配它们。我告诉自己，光线中的颜色就是它们本来的样子，而暗部只是相同的颜色，只是更暗，而不明显地更暖或更冷。
Here is a little tip for outdoor painting, especially in sunlight-wear dark clothing. A white shirt will reflect on a canvas, or on the wet surface of a watercolor, causing disturbing glare, particularly in the darker values of your work. Painting in bright sun causes two other problems (not to mention sunburn). First, the pupils of your eyes close down to pinpoints, which for physiological reasons, will cause you to see less color. Second, the extreme brightness makes your mixtures appear much lighter in value, when in fact they are darker. A good example is Alizarin Crimson, which in normal viewing light is almost as dark as Black, but in bright sunlight is about the same value as Terra Rosa, a difference of at least two values lighter. That, in turn, can make you overcompensate by mixing your paints too dark in value. 这里有一个小提示适用于户外绘画，尤其是在阳光下 - 穿深色衣服。白色衬衫会在画布上反射，或者在水彩的湿表面上反射，造成令人不适的眩光，特别是在您作品的较暗部分。在明亮的阳光下绘画会导致另外两个问题（更不用说晒伤了）。首先，您的瞳孔会收缩成针尖状，出于生理原因，这会导致您看到的颜色更少。其次，极端的明亮会使您的混合颜色看起来明度更高，实际上它们更暗。一个很好的例子是茜素红，正常光线下几乎和黑色一样暗，但在明亮阳光下的明度与赭石相当，至少要轻两个明度值。这反过来会导致您通过混合颜料使颜色过于暗淡。
One common result of working with the sun on your canvas is this: when you see your painting under ordinary light, (which usually means indoors), it will probably be a somewhat darker painting, but it might be more colorful (saturated) as well. Why? Because as you work, the bright sunlight will cause the mixtures on your canvas to appear lighter than they really are. You will probably have mixed less white into your colors without realizing it. Mixtures with less white in them are always more saturated. Therefore, when you take your picture indoors, it will likely seem darker and more vibrant than it looked outdoors. 与太阳一起在画布上工作的一个常见结果是：当您在普通光线下（通常是在室内）看到您的画时，它可能会是一幅颜色较暗的画，但也可能更加丰富多彩（饱和）。为什么？因为在您作画时，明亮的阳光会使画布上的混合颜色看起来比实际更浅。您可能在颜料中混入了较少的白色而没有意识到。混合物中白色较少的颜色总是更饱和的。因此，当您把画带到室内时，它可能会比在室外看起来更暗淡和更有活力。
RED BEGONIAS and WHITE RHODODENDRONS oil on canvas, 红色海棠花和白色杜鹃花 油彩画布
This painting is a good example of the fact that, for the most part, the pigments we use are at their richest under moderate cool lighting when they are seen as middle tones rather than very bright or dark shades. To demonstrate this, try taking any of the darkest pigments on your palette, such as Ultramarine Blue, Alizarin Crimson, Thalo Green, or similar dark colors, and then add just a tiny amount of white to any of them and notice how beautifully saturated they become. Likewise, colors that are naturally lighter as they come from the tube (this would be the yellow family) take on a deeper richness as they are mixed with either reds or greens to produce tones in the orange family or yellow-green family. 这幅画是一个很好的例子，大多数情况下，我们使用的颜料在适度的冷光下表现得最丰富，当它们被视为中间色调而不是非常明亮或非常暗的色调时。为了证明这一点，试着拿起调色板上最深的颜料之一，比如群青蓝、茜素红、青绿色或类似的深色，然后只加入少量白色，注意它们变得多么饱和美丽。同样，从管中挤出时本来就较浅的颜色（这将是黄色系）在与红色或绿色混合以产生橙色系或黄绿色系的色调时会变得更加丰富。
Notice how I was able to use Cadmium Red, Cadmium Scarlet, Cadmium Orange, and Cadmium Yellow Deep, as they came straight from the tube without having to show them as mixtures, with the exception of the red flowers where I added Permanent Alizarin Crimson for a deeper but still highly saturated red. Also I held back slightly in the color saturation of the greens in order to keep them a bit more quiet than the reds and yellows. Also note that with a moderately illuminated subject like this, I was able to give the white flowers subtle tones of pinks, greens, and yellows while still having them appear to be white flowers. 请注意，我能够使用镉红、镉朱红、镉橙和镉黄深色，它们直接从管中挤出来，而无需展示它们作为混合物，唯独在红色花朵上，我添加了永久性茜素红，使红色更加深沉但仍然高度饱和。此外，我在绿色的色饱和度上稍微保留，以使其比红色和黄色更加安静。还要注意，像这样光线适中的主题，我能够给白色花朵带有微妙的粉色、绿色和黄色色调，同时让它们看起来仍然是白色花朵。
There is no question about staying out of the sun to paint if at all possible. It's actually easy. The simple solution is to have the right kind of umbrella handy, one big enough to shade you, your canvas, and your palette. Umbrellas should also be colorless and translucent enough to allow enough good working light to come through. White nylon is good, Black or colored is not. Your umbrella should also be the kind you can anchor to the ground easily but firmly. Watch out for those clever little umbrellas which clamp on your French easel. I have seen them become airborne in a high wind, taking French easel, brushes, and painting, up, up, and away to Emerald City. 没有疑问，尽可能避免在阳光下绘画是很重要的。这实际上很容易。简单的解决方案是准备一把合适的遮阳伞，足够大，可以为你、画布和调色板遮荫。遮阳伞也应该是无色透明的，足够透光。白色尼龙是不错的选择，黑色或有颜色的则不行。你的遮阳伞还应该是那种可以轻松而牢固地固定在地面上的。要小心那些可以夹在法式画架上的巧妙小遮阳伞。我曾见过它们在大风中被风吹起，带着法式画架、画笔和画作一起飞向翡翠城。
Some art suppliers still persist in selling black umbrellas. Working with one of those must be like locking yourself in a dark closet to paint. They also come in bright colors, cute decorator patterns, or fabrics which allow no light to filter through. Stay away from such worthless things. When you go out to paint, it's about serious work, not picnicking. (And even if you do feel silly sitting under it when it's not raining, it's worth it.) When you see old photos of Sargent, Monet, and others painting outdoors, they always had a big white umbrella under the noonday sun, quite unlike mad dogs and Englishmen (thank you Noel Coward). 一些艺术用品供应商仍然坚持销售黑色雨伞。与其中一家合作就像把自己锁在黑暗的壁橱里绘画一样。它们也有明亮的颜色、可爱的装饰图案，或者不透光的面料。远离这些毫无价值的东西。当你外出绘画时，这是严肃的工作，而不是野餐。 （即使在没有下雨时坐在下面感觉很傻，但这是值得的。）当你看到萨金特、莫奈和其他人在户外绘画的旧照片时，他们总是在正午的阳光下撑着一把大白色雨伞，与疯狗和英国人完全不同（感谢诺埃尔·考沃德）。
ARTIFICIAL LIGHT 人工光
If you must paint by artificial light (and most of us have at times-or all the time), the fluorescent lamps I mentioned are the best source I have used so far. I have twelve 48 -inch, 40 -watt fluorescent tubes, arranged in four fixtures. (See the photo on page 205.) They are available from any lighting supply store. The lights are color balanced and steadier than daylight, but they do somewhat lack the softer, more diffused quality of natural light. Their actual light output does not change until they near the end of their life, about 24,000 hours. If your ceiling will allow it, the ideal height of the light fixtures above the studio floor should be not more than 12 feet. Also, mine are mounted slightly behind my working position. 如果你必须在人工光线下绘画（大多数人有时候或者一直都在这样做），我目前用过的最好的光源是我提到的 荧光灯。我有十二支 48 英寸、40 瓦的荧光灯管，安装在四个灯具中（见第 205 页的照片）。它们可以在任何照明用品店购买。这些灯的色彩平衡性和稳定性比白天更好，但它们确实缺少自然光柔和、更散射的质量。它们的实际光输出在接近寿命结束时才会发生变化，大约为 24,000 小时。如果你的天花板允许，灯具距离工作室地面的理想高度不应超过 12 英尺。此外，我的灯具略微安装在我的工作位置的后方。
If the familiar fluorescent fixtures are a problem in your situation, there are many other very good alternatives available. There are too many to name individually here, so I suggest you visit a lighting center, home improvement super store, a licensed electrician, or the Internet, to see the wide variety of excellent lighting developed, and now available, since I first wrote about this in the original edition of Alla Prima. Be sure the light bulb or tube you buy has on it. 如果您的情况中熟悉的荧光灯具成了问题，那么还有许多其他非常好的替代品可供选择。这里有太多种类无法一一列举，因此我建议您去照明中心、家居装修超市、持牌电工或上网，看看自我首次在《Alla Prima》原版中写到的出色照明产品的广泛种类，现在这些产品已经问世。确保您购买的灯泡或灯管上标有 。
I definitely do not recommend ordinary (tungsten) light bulbs for studio work unless there is no other possible choice. Their color balance is weighted toward yellow and orange, so much so the blue family of colors is sharply reduced. Blues, violets, and greens will all appear less intense than they would be in more balanced lighting. As a result, paintings done under tungsten light often appear to have their cool colors exaggerated when viewed in a better light. (Because blues under yellow or orange light look less saturated, you must make them more intense than you would under balanced lighting.) Tungsten bulbs also produce very pronounced shadows with hard edges. If those hard shadows are a problem, paint your ceiling a bright cool white, and bounce your lights off of it for a more diffused illumination. If color is unimportant to you, for example, if you work in monochrome, it doesn't matter what light you use, as long as you can see what you are doing. 我绝对不推荐在工作室使用普通（钨丝）灯泡，除非没有其他选择。它们的色彩平衡偏向黄色和橙色，以至于蓝色系的颜色明显减少。蓝色、紫罗兰色和绿色都会显得不那么强烈，比在更平衡的光线下要淡。因此，在钨光下完成的画作在更好的光线下观看时，冷色调会被夸大。（因为在黄色或橙色光线下，蓝色看起来不那么饱和，你必须使它们比在平衡光线下更强烈。）钨丝灯泡还会产生非常明显的硬边阴影。如果这些硬阴影是问题，可以将天花板涂成明亮的冷白色，并让灯光反射在上面，以获得更柔和的照明效果。如果颜色对你不重要，例如，如果你是在单色下工作，你使用什么光线都无所谓，只要你能看清楚自己在做什么。
THE GOOD OLD DAYS 那些美好的往日时光
You think you have problems with light? Imagine how difficult it must have been for painters in the past! Today we have the advantage of sophisticated controlled electrical lighting on demand, but they had only natural light for daytime (over which they had no control). When daylight faded, their choices were dismal—-torches, candles, oil lamps, and later, gaslight - all of them firelight in one form or another. Few artists, however, painted after sundown, preferring in their evenings to do drawings or other things not requiring color (serious drinking perhaps, and heaven only knows what else). Artists in those bygone days were the earliest of risers, getting up at the crack of dawn, despite hangovers no doubt, to take full advantage of daylight. So for painters, everything has really changed since the good old days, everything that is except how to spend their evenings. 你认为你对光线有问题吗？想象一下过去的画家们是多么困难！今天，我们有先进的可控电灯照明，但他们只能依赖自然光，在白天（他们无法控制）。当白天渐渐消失时，他们的选择很有限——火炬、蜡烛、油灯，后来是煤气灯——所有这些都是某种形式的火光。然而，很少有艺术家在日落后继续绘画，他们更喜欢在晚上做一些不需要色彩的事情（也许是认真喝酒，只有天知道还有什么）。在那些过去的日子里，艺术家们是最早起床的人，尽管无疑会有宿醉，他们会在黎明破晓时起床，充分利用白天。所以对于画家来说，自从那些美好的日子以来，一切都发生了真正的变化，除了如何度过他们的晚上。
NANCY'S DOLL oil on canvas, 36 x 20, 1990, by Nancy Guzik 南希的洋娃娃 油画 布面 36 x 20 1990 年 作者南希·古兹克
HOW LIGHT WORKS WITH AND AGAINST COLOR 光如何与颜色相互作用和对抗
This is a modest little point, but it is important to know. Let us go back to the fact that in many cases adding white to a color is the only choice for making it lighter. So far so good, but what also happens is this: when we add white to any color or mixture, we also cool it. It's like putting snow in your coffee. This happens because white is the coldest pigment on our palette compared to all of our other colors. It lowers the saturation of any color it is mixed with. Fortunately, this works to our advantage when we work in cool light because colors on a subject get cooler as they get lighter-the same thing happens when white pigment is added to colors. Cool light then works with our mixtures. This is one of the reasons why many artists prefer cool overcast north daylight. 这是一个谦逊的小观点，但了解它很重要。让我们回到一个事实，即在许多情况下，向颜色中添加白色是使其变浅的唯一选择。到目前为止一切顺利，但还有一点需要注意：当我们向任何颜色或混合物中添加白色时，也会使其变冷。就像在咖啡中加雪一样。这是因为白色是调色板上最冷的颜料，与我们的其他所有颜色相比。它会降低与之混合的任何颜色的饱和度。幸运的是，当我们在凉爽的光线下工作时，这对我们有利，因为主体上的颜色随着变浅而变得更凉-当白色颜料添加到颜色中时也会发生同样的事情。凉爽的光线与我们的混合物配合得很好。这就是为什么许多艺术家更喜欢凉爽多云的北方白天的原因之一。
Warm or hot light, on the other hand, works against our mixtures when we have to lighten them. Why? Because the colors in our subject get warmer as they get lighter, and since we usually cannot avoid using white to lighten mixtures, we have a problem keeping those mixtures warm as we lighten them. We must constantly compensate for the cooling effect of white by also introducing yellows and reds when raising values. 温暖或炽热的光线，另一方面，在我们必须使它们变浅时，会对我们的混合物产生影响。为什么？因为随着颜色变浅，我们主题中的颜色会变得更温暖，而且由于我们通常无法避免使用白色来使混合物变浅，我们在使混合物变浅时会遇到一个问题，即如何保持这些混合物在变浅时保持温暖。我们必须不断通过引入黄色和红色来抵消白色的冷却效果，以保持这些混合物在变浅时的温暖。
Extremely bright high-contrast light also poses color problems. For one thing, our pupils contract, and we tend to squint (as I described in sunlight painting), preventing us from seeing all the colors available in our subjects (particularly in the darks). Moreover, when we are facing directly into a bright light or our subject is back-lit, most of the middle tones diminish (the silhouette effect), and all we see is glare and shadow. For this reason, high-contrast situations tend to result in less colorful paintings. More moderate light, such as diffused overcast daylight, cooperates best of all with our seeing, our subject, and our paint. Our eyes relax to let in even the subtlest of tones. The colors in the subject, as well as our pigments, appear in their natural strength. Because colors are at their highest levels of intensity in the middle-to-light range of values, we can match the colors we see effortlessly. 极其明亮的高对比度光也会带来色彩问题。首先，我们的瞳孔会收缩，我们往往会眯起眼睛（正如我在阳光下绘画时所描述的），这会阻止我们看到主题中所有可用的颜色（尤其是在暗部）。此外，当我们直接面对明亮的光线或者我们的主题被逆光照射时，大部分中间色调会减弱（剪影效果），我们看到的只有耀眼和阴影。因此，高对比度的情况往往导致绘画色彩较少。更为适中的光线，比如弥散的阴天白昼光，最能配合我们的视觉、主题和颜料。我们的眼睛放松下来，甚至能接收到最微妙的色调。主题中的颜色，以及我们的颜料，都呈现出其自然的强度。由于颜色在中到浅值范围内的强度最高，我们可以轻松地匹配所见的颜色。
Mother Nature is often kind enough to present herself in manageable splendor, almost as if she is begging to be painted. Occasionally, however, her intense light, high contrasts, and color temperature extremes can sometimes make a literal painting impossible. Back in art school, when I was far enough along in my development to grasp what he was talking about, the Master introduced me to ways of manipulating pigments to achieve the effect of colors and conditions of bright contrast in a subject that otherwise might be considered beyond the range of oil paints. As a result of what I learned, I understood things that had earlier eluded me in some of the works of the Impressionists and other artists of their time. 大自然常常慷慨地展现自己的壮丽，几乎像是在请求被描绘。然而，有时她强烈的光线、高对比度和色温极端有时会使得字面上的绘画变得不可能。在艺术学校时，当我在发展中足够成熟以理解他在谈论什么时，大师向我介绍了操纵颜料以实现色彩效果和明亮对比条件的方法，这些条件在其他情况下可能被认为超出油画范围。由于我所学到的，我理解了一些早些时候在印象派和其他当时艺术家的作品中曾让我困惑的事情。
I realized they faced the same challenges we do today, one of which is how to effectively raise the value of a color without losing its intensity (saturation). Our common problem stems from the fact that white is our lightest color, and we must often use it as the only way of achieving certain high-keyed colors. (We can't just turn up the brightness control.) Simply adding white to a color doesn't always do the job. Why? Because above a certain value, colors start looking "chalky." They appear more white and opaque, less "vivid" or "saturated" with color. In lightening, we lose color intensity. The only exception to this is when a very small amount of white is added to the very darkest palette colors, such as Ultramarine Blue, Alizarin Crimson, Thalo Green or Blue, and other extremely dark colors you might use. Because those pigments are so very dark it can often be hard to fully determine their true color. A very tiny amount of white added to those colors will make them come alive. 我意识到他们面临着与我们今天一样的挑战之一，那就是如何在不失去颜色的强度（饱和度）的情况下有效提高颜色的价值。我们共同的问题源于白色是我们最浅的颜色，我们经常必须将其用作实现某些高调颜色的唯一途径。（我们不能只是调高亮度控制。）简单地向颜色中添加白色并不总是有效的。为什么呢？因为在某个值以上，颜色开始看起来“粉笔般”。它们看起来更白、更不透明，颜色的“生动”或“饱和度”更少。在变浅的过程中，我们失去了颜色的强度。唯一的例外是当很少量的白色添加到最深的调色板颜色中时，比如群青蓝、茜素红、蓝绿或蓝晶等其他极深的颜色，因为这些颜料非常深，往往很难完全确定它们的真实颜色。很少量的白色添加到这些颜色中将使它们生动起来。
A conspicuous example of this problem is the task of painting the brightness of an orange streak in a sunset without losing its vivid orange glow. The solution is to paint the temperature of the orange streak relative to its surrounding colors, rather than trying to capture the true brightness of the colors in the sky and elsewhere. In other words, deal with the question of how hot the streak is compared to everything else in sight. Often, simply cooling all other colors in the painting will make the streak look "hotter" simply by comparison. This awareness of color temperature is the key to "seeing" color, because color temperature relationships are what makes colors look the way they do when they are together in a painting. (And light temperature makes that happen too, but more on that later.) 这个问题的一个显著例子是在日落中绘制橙色条纹的亮度，而不失去其鲜艳的橙色光辉。解决方法是绘制橙色条纹相对于周围颜色的温度，而不是试图捕捉天空和其他地方颜色的真实亮度。换句话说，处理橙色条纹相对于视野中其他所有事物有多热的问题。通常，通过简单地降低绘画中所有其他颜色的温度，橙色条纹看起来会“更热”，仅仅是通过比较。对颜色温度的这种意识是“看到”颜色的关键，因为颜色温度关系是在绘画中将颜色放在一起时使它们看起来如此的原因。（光的温度也会造成这种情况，但稍后再详细讨论。）
VERMONT SPRING oil on canvas, 佛蒙特之春 油画
This is another example of how moderate light brings out the best in color. This time we see this as it happens in landscape painting. Other examples of this can be seen on pages 17,21, 11,103,125,163, 229, 279, 285 and page 286. Soft or moderate lighting also works well because our eyes respond best to the visual world when the light is neither too bright nor too dim. 这是另一个例子，中等光线如何突显颜色的最佳状态。这次我们看到这种情况发生在风景画中。其他类似的例子可以在第 17、21、11、103、125、163、229、279、285 和 286 页看到。柔和或适中的光线也很有效，因为当光线既不太亮也不太暗时，我们的眼睛对视觉世界的反应最佳。
Under average light, such as you see above, overall harmony is much easier to see and paint than with situations of extreme light or dark illumination. We see one reason for this in very bright light where high contrast, and therefore dark shadows, are produced. The shadows have a somewhat shattering effect on harmony as compared to softer lighting where the overall color mood is uninterrupted and the various elements in the painting are reinforcing one another throughout the entire work. 在一般光线下，如上所示，整体和谐比极端光线或黑暗照明情况下更容易看到和绘制。我们认为其中一个原因在于非常明亮的光线下会产生高对比度，因此会产生深色阴影。与柔和的光线相比，阴影对和谐有一定破坏作用，柔和的光线下整体色调是连续的，绘画中的各种元素在整个作品中相互加强。
For example, let your eyes take a journey around this painting and see how the dominant color tone of the sky repeats itself in the roof of the building and the reflection in the water, and then enjoy the moments I played within the red and orange green harmonies everywhere. 例如，让你的眼睛在这幅画中四处游走，看看天空的主导色调如何在建筑物的屋顶和水面的倒影中重复出现，然后享受我在红色和橙色绿色和谐中玩耍的时刻。
CHAPTER EIGHT-THE PALETTE AND VITAL CHARTS 第八章-调色板和生命图表
THE COLORS 颜色
To mix the colors I want, I must have a basic and well balanced set of pigments, and I must know what will happen when I mix them together. The colors listed or mentioned in the text of this book are of various brands. I make no claim one is better or worse than another. I buy the paints I do mostly by how well they have performed for me over time. I indicate the brand I use because the shade of a color can vary widely among manufacturers. The colors within certain brands can also change from time to time without notice. I choose the brands I do because the manufacturers have been generally consistent in making their colors with respect to hue, density of color, and brushing consistency. Brand abbreviations are: WN-Winsor&Newton Rembrandt , G-Gamblin Old Holland , and L-Lefranc . 为了混合我想要的颜色，我必须拥有一套基本且平衡的颜料，并且我必须知道当我把它们混合在一起时会发生什么。本书文本中列出或提到的颜色来自不同品牌。我并不主张其中一种比另一种更好或更差。我购买颜料主要是根据它们在我使用过程中的表现如何。我标明我使用的品牌是因为同一种颜色的色调在不同制造商之间可能存在很大差异。某些品牌的颜色也可能随时发生变化而没有通知。我选择我选择的品牌是因为制造商在颜色的色调、颜色的浓度和刷涂一致性方面通常是一贯的。品牌缩写为：WN-温莎牛顿，R-伦勃朗，G-甘伯林，OH-老荷兰，L-勒朗克。
MY CURRENT BASIC PALETTE (For both indoor and outdoor work): 我目前的基本调色板（适用于室内和室外工作）：
Cadmium Lemon (WN) 镉柠檬 (WN)
Cadmium Yellow Pale (WN) 镉黄浅 (WN)
Cadmium Yellow Deep (R) 镉黄深 (R)
Yellow Ochre Light (WN) This color varies considerably depending on the brand. I'm using Windsor&Newton at this writing (2013) because it's close to the classic version I prefer. 黄土黄浅色（WN）这种颜色因品牌而异。我在写作时（2013 年）使用温莎牛顿，因为它接近我喜欢的经典版本。
Cadmium Red (WN) 镉红（WN）
Terra Rosa (WN) 泰拉罗莎（WN）
Alizarin Permanent (G) Bob Gamblin's excellent replacement (it doesn't fade or crack) for the bad old Alizarin Crimson. I'll never understand why some color makers still market traditional Alizarin Crimson knowing of its serious defects. 茜素永久色（G）是鲍勃·甘布林出色的替代品（不会褪色或开裂），取代了那种糟糕的老茜素洋红。我永远不会明白为什么一些颜料制造商仍在推销传统的茜素洋红，明知它存在严重缺陷。
Transparent Oxide Red (R) This color replaces the Burnt Sienna Deep I used for many years as the brown on my palette. It is permanent, darker, and nicely transparent (which Burnt Sienna is not). 透明氧化红（R）这种颜色取代了多年来我调色板上使用的深烧赭色。它是永久的、更深的，并且具有良好的透明性（而烧赭色则没有）。
Viridian 翠绿色
Cobalt Blue Light I choose the light shade of Cobalt Blue to give myself the choice of a value difference between blues. Ultramarine Blue Deep 钴蓝光 我选择了钴蓝的浅色调，为自己提供了在蓝色之间进行价值差异选择的机会。深群青蓝
Titanium White (L) 钛白色（L）
With these few colors I can duplicate virtually all the other manufactured colors (at least those worth bothering with), so it is unnecessary to take up palette space with more paints. Strictly speaking, I don't really need Cadmium Yellow Deep, Yellow Ochre Light, or Terra Rosa, since all of those can be mixed from the remaining colors, but I use them so much it is more convenient to just squeeze them from a tube. For the same reason, I often put Cadmium Scarlet for a warmer red, and Cadmium Orange, on my palette when I'm working in warm light or with a subject having lots of those colors, such as Begonias on page 22. 用这几种颜色，我几乎可以复制所有其他制造的颜色（至少值得关注的颜色），因此没有必要用更多的颜料占用调色板空间。严格来说，我并不真的需要镉黄深、黄土浅或赭石，因为所有这些颜色都可以从剩下的颜色中混合而来，但我经常使用它们，所以最好直接从管子里挤出来。出于同样的原因，当我在温暖的光线下工作或处理有很多这些颜色的主题时，比如第 22 页上的秋海棠，我经常在调色板上放置镉猩红作为更温暖的红色，以及镉橙。
Occasionally, I'll add either Cobalt Violet Light or Dark (genuine version of both) to my palette when I need a brilliant violet or purple, because the Alizarin plus Ultramarine Blue mixtures are not as saturated in lighter values. Cobalt Violet is unusually expensive compared to most other pigments, and it's like caviar (a little on a cracker goes a long way). I use it sparingly. Its high price is probably a good thing, because it curbs my temptation to use it indiscriminately, which can easily happen. In all my years of painting, I have found very few subjects displaying a great amount of super-saturated violet, but then I never had the challenge of painting ladies like those who sat for Sargent. I did do a portrait of a gal with purple lipstick and nails once! What fun! 偶尔，当我需要鲜艳的紫罗兰色时，我会在调色板上加入钴紫光或暗（两者都是真正的版本），因为茜素加上群青蓝的混合物在较浅的色值中不够饱和。与大多数其他颜料相比，钴紫的价格异常昂贵，就像鱼子酱一样（一点点就足够了）。我会节约使用它。它的高价钱可能是一件好事，因为它抑制了我随意使用它的诱惑，这很容易发生。在我多年的绘画经验中，我发现很少有主题展示出大量超饱和的紫罗兰色，但我从未面对过像为萨金特所绘的那些女士们那样的挑战。我曾经画过一个涂着紫色口红和指甲的女孩的肖像！多么有趣！
I did use Ivory Black at one time, but no more. It cracks, and it is too easy to use it simply to darken colors. I prefer to mix my own versions of black with a combination of other colors such as Ultramarine Blue plus Alizarin Crimson plus Transparent Oxide Red. These "blacks" yield a deeper black, and have a much richer quality because they belong to a distinctive color family. 我曾经使用象牙黑，但现在不再使用了。它会开裂，而且太容易用它简单地使颜色变暗。我更喜欢用其他颜色的组合来调配自己的黑色版本，比如群青蓝加茜草红加透明氧化红。这些“黑色”会产生更深的黑色，并且具有更丰富的质感，因为它们属于独特的色系。
MY TRADITIONAL STUDIO PALETTE Plate Glass) 我的传统工作室调色板 平板玻璃
For more information on my palette, how it has changed over the years, and the reasons why, see Alla Prima II: COMPANION, Richard Schmid's Materials, Tools and Techniques by Katie Swatland. Also included in this book are detailed discussions on the properties of pigments and light, and how this knowledge is essential to achieving authenticity with color. 有关我的调色板更多信息，它是如何随着年代变化的，以及原因，请参阅 Katie Swatland 撰写的《Alla Prima II: COMPANION》，Richard Schmid 的材料、工具和技术。此书还包括对颜料和光的特性进行详细讨论，以及如何将这些知识运用到色彩中实现真实性的重要性。
My preference is to keep my palette selection simple and basic - the fewest colors I need. The ones I have listed constitute a classic group of pigments to which other colors can be added, removed, or substituted to fit special circumstances. This choice of colors is often referred to as the so called Rubens or Flemish (and Dutch) palette. Strictly speaking, my colors are not the same as Rubens'. They are modern versions of course. Painters in past centuries did not have the brilliant colors we enjoy today, but my palette reflects the philosophy of their times, which is to work with the fewest number of colors necessary - three primary yellows, two primary reds, two primary blues, three earth colors, and an all-purpose green. 我的偏好是保持调色板选择简单和基础 - 我需要的颜色最少。我列出的这些颜色构成了一个经典的颜料组合，其他颜色可以根据特殊情况添加、移除或替换。这些颜色选择通常被称为所谓的鲁本斯或佛兰芒（和荷兰）调色板。严格来说，我的颜色与鲁本斯的不同。它们当然是现代版本。过去几个世纪的画家没有我们今天享受的鲜艳颜色，但我的调色板反映了他们那个时代的哲学，即用最少数量的颜色工作 - 三种主要黄色，两种主要红色，两种主要蓝色，三种土色和一种多用途绿色。
LEARNING COLORS-THE CHARTS 学习颜色-图表
Actual painting begins when I have identified the colors I see in my subject and start dipping into the little piles of paint. How do I know what to mix with what to get what I want? In my case, I had to be taught how to do that. Nothing in my genes or in the stars was of any help whatsoever. My initiation into the world of color began sixty-some years ago, when I first entered Bill Mosby's class at the old American Academy of Art. 实际的绘画是当我确定了我在主题中看到的颜色并开始蘸取一小堆颜料时开始的。我怎么知道要用什么来混合以得到我想要的颜色呢？在我的情况下，我必须学会如何做到这一点。我的基因或星星中的任何东西都没有任何帮助。我对色彩世界的启蒙始于大约六十年前，当我第一次进入比尔·莫斯比在旧美国艺术学院的课堂时。
I already knew a few things - red and yellow made orange; yellow and blue made green; violet was blue mixed with red; white or black made things lighter or darker, and mixing everything together made gray, or brown, or mud, but that was the extent of my color knowledge, even though I'd been fooling with oil paints since I was fourteen. Some earlier instruction (and nonstop trial and error) had given me an inkling of color theory-just enough, however, to screw up, which I did. 我已经知道一些事情 - 红色和黄色混合成橙色；黄色和蓝色混合成绿色；紫罗兰是蓝色和红色混合而成；白色或黑色使事物变得更轻或更暗，将所有颜色混合在一起会产生灰色、棕色或泥色，但这就是我对颜色知识的全部了解，尽管我从十四岁开始就一直在玩油画。一些早期的指导（以及不断的试错）使我对色彩理论有了一点了解，但只是足够让我搞砸，而我也确实搞砸了。
Mosby liked to describe my efforts as being like those of a rookie baseball pitcher-lots of speed, but no control! (He had a certain way of going right for the jugular.) He could be rough talking at times, but I loved him like a father and absorbed every word he said. The extent of his knowledge was extraordinary, and some of what he taught me did not fully register in my mind or my work until I had enough experience to grasp it. Before I was allowed to paint from the model, he suggested (commanded) I do the legendary color charts - an exercise designed to explore the possible color mixtures of my palette. The charts, a time-tested method of teaching color, were his way of showing me just what I was getting myself into. His initial assessment of my color skills indicated it was ludicrous for me to begin painting until I understood much more about my paints. 莫斯比喜欢把我的努力比作一名新手棒球投手，速度很快，但控制不住！（他总是直截了当地说话。）他有时会说话很粗鲁，但我像父亲般爱他，吸收他说的每个字。他的知识广博，有些教诲直到我有足够经验才能领会。在我被允许从模特身上作画之前，他建议（命令）我做传奇色彩图表 - 这是一个旨在探索调色板可能混合颜色的练习。这些图表是一种经过时间考验的教授色彩的方法，他通过这种方式向我展示我将要面对的挑战。他对我的色彩技能的初步评估表明，除非我更多地了解我的颜料，否则开始绘画是荒谬的。
He was right. Also, he was not receptive (to put it mildly) to the idea that some people have a natural sense of color. He thought you had to work at it. So did I, and I still do. It just made good sense to at least try out all the colors I would be working with, and understand how they behaved with one another. After all, I was doing exactly the same thing in studying the piano. In order to play music I had to learn all the basics. Knowing the key signatures, scales, chord structures, and arpeggios, made it possible. It would have been ridiculous not to at least try out all eighty-eight keys to hear what they sounded like. 他是对的。此外，他对一些人天生具有色彩感这一观念并不接受（姑且这么说）。他认为你必须努力去培养它。我也是这么认为的，而且现在仍然如此。至少尝试一下我将要使用的所有颜色，了解它们彼此之间的行为，这是很有道理的。毕竟，我在学习钢琴时也在做同样的事情。为了演奏音乐，我必须学习所有基础知识。了解调号、音阶、和弦结构和琶音，这些都是可能的。不尝试一下所有的八十八个键听听它们的声音，那将是荒谬的。
As a prelude to actual painting, I was introduced to a rational palette of colors, and shown how to make charts by mixing each of my pigments in a methodical way with all the others (only nine at the time; today it is eleven). The purpose was to see, understand, and remember what they looked like when they interacted. Then I had to blend white into those mixtures and render each out to five values. It was not something that could be done by rote. The charts had to be executed with intense concentration if they were to come out right. Mosby hovered over me all the while, waiting to pounce if I got the color mixtures even slightly wrong, or if my values failed to graduate with perfect uniformity. To make it harder (I thought), he made me do it all with a palette knife. I was clumsy with the knife at the beginning - a bricklayer could have done better with his trowel-but in the end I was wielding the knife like a Ninja swordsman. Thus, in doing the charts, I also acquired skills with a new tool, the knife, one I have treasured ever since. Mosby was a smart guy. 作为实际绘画的前奏，我被介绍了一个理性的调色板，并展示了如何通过以一种系统的方式将每种颜料与其他颜色混合来制作图表（当时只有九种；今天是十一种）。目的是看到、理解和记住它们相互作用时的样子。然后我必须将白色混入这些混合物中，并将每种混合物渲染成五个值。这不是一件可以机械地完成的事情。如果要做对，就必须全神贯注地执行这些图表。莫斯比一直在我身边盯着，等着一旦我稍微搞错颜色混合或者我的价值观缺乏完美的一致性就出手。为了增加难度（我想），他让我用调色刀完成所有工作。一开始我用刀很笨拙——一个泥瓦匠用他的抹刀可能会做得更好——但最后我像忍者剑士一样挥舞着刀。因此，在做这些图表的过程中，我也掌握了一种新工具——刀，这是我自那时以来一直珍视的工具。莫斯比是个聪明人。
Surprisingly, the charts took only two weeks to complete, and when I finished I knew more about my paint than I had ever thought possible. It was an astonishing experience - imagine being taken into the kitchen of a great chef and shown everything he could do with flavors. That was what it was like for me! There was nothing tedious or boring about doing the charts. Each was a revelation of the power awaiting me when I did start painting. 令人惊讶的是，这些图表仅用了两周时间就完成了，当我完成时，我对我的颜料了解比我以往想象的更多。这是一个令人惊讶的经历 - 想象一下被带进一位大厨的厨房，展示他用风味可以做的一切。对我来说就是这样！做这些图表并不乏味或无聊。每一张都是我开始绘画时等待我的力量的启示。
Just to show again how marvelous the color charts can be, imagine the three color charts shown here, not as boringly identical squares arranged in perfect rectangles, but instead as flowers, leaves, stems and a background. 只是为了再次展示色彩图表有多么美妙，想象一下这里展示的三个色彩图表，不是无聊的相同方块整齐排列在完美的矩形中，而是作为花朵、叶子、茎和背景。
The color charts, and the knowledge of how to use them changed my thinking about what painting really is to me. It was another of those AH-HAH moments where I realized the immensity of what awaited me. 色彩图表以及如何使用它们的知识改变了我对绘画的看法。这是我意识到等待着我的事物的巨大性的又一个顿悟时刻。
I have done the charts several times over the years. Each new episode in rendering them has given me fresh insights about color. I did not think it was possible, but undoubtedly my interim experience had something to do with it-very much like any practicing professional returning to school often realizes a more enriched understanding than a beginner. The charts still take about two weeks from start to finish, an amazingly brief time spent when I think about it. Imagine, only two short weeks to acquire a comprehensive understanding of the paints I must use for the rest of my life to depict my view of the world! 多年来，我已经做过几次图表。每次重新渲染它们时，都让我对颜色有了新的见解。我本以为这是不可能的，但无疑我的临时经验与此有关——就像任何一位实践专业人士重返学校时往往会意识到比初学者更丰富的理解。从头到尾，这些图表仍然需要大约两周的时间，当我想到这一点时，这段时间实在是短暂得令人惊讶。想象一下，仅仅两个短短的星期就能获得对我余生必须使用的颜料有全面了解，以描绘我对世界的看法！
Many of my fellow students regarded the charts as just an ordeal to be dispatched with as quickly as possible, or simply bypassed for a crack at what they viewed as the more serious business of immediately expressing themselves with paint. In their impatience to get to painting, they missed the whole point that it was the doing of the charts and how they were done that really mattered. I was lucky because I truly enjoyed doing them, just as I loved the sound of playing scales on my piano. I thought they were fun, like making cake frosting and getting to eat it all myself instead of just licking the pan. No tummy ache either, just deliriously beautiful color! The meticulous attempt to make my color mixtures and transitions perfect gave me not only a grasp of the astonishing potential of my palette, but the ability to unerringly mix any color I needed-without guesswork. 我的许多同学认为图表只是一个必须尽快完成的苦差事，或者干脆绕过它，直接用油漆表达自己。他们急于开始绘画，却错过了图表的实质及其完成方式才是真正重要的事实。我很幸运，因为我真的喜欢做这些图表，就像我喜欢弹钢琴音阶一样。我觉得这很有趣，就像做蛋糕糖霜一样，可以自己吃光，而不仅仅是舔锅子。也不会肚子疼，只有美丽得令人陶醉的颜色！精心尝试使我的颜色混合和过渡完美，不仅让我掌握了调色板的惊人潜力，还让我能够毫不含糊地混合出任何我需要的颜色，而无需猜测。
DOING THE CHARTS 制作图表
This is about creating the charts with oil paint, but they can be done with any medium you wish-watercolor, pastel, acrylic, etc. Oils are best, however, because they can be endlessly corrected and adjusted before applying them to the charts, something not easily done with water based media. Regardless of the medium, doing them will enhance your understanding of how color works, with whatever materials you are familiar with. If you are like me, you will use the charts constantly as a reference when you paint, so do them on a durable surface, one which will stand up to many years of service. You might want to put an acetate cover on them too, as you will be handling them with paint on your hands. 这是关于用油画创作图表，但您可以使用任何您希望的媒介-水彩、粉彩、丙烯等来完成。然而，油画是最好的选择，因为在将它们应用到图表之前，可以不断进行修正和调整，这是用水性媒介很难做到的。无论使用何种媒介，制作这些图表都将增进您对颜色运作方式的理解，无论您熟悉哪种材料。如果您像我一样，您将会在绘画时经常使用这些图表作为参考，因此请在耐用的表面上制作它们，这样可以经受多年的使用。您可能还想在上面放一层醋酸盐覆盖物，因为您将用带有油漆的手来处理它们。
For oil paints I recommend using Gatorfoam Board or canvas board. Neither requires any preparation. Just cut them to size if necessary, and lay on some tape for the squares. For water media such as watercolor, acrylics, or gouache, a good quality, double thick, smooth illustration board works well. I did the charts for this book on panels with one inch color squares-larger than that is too cumbersome when using the charts, and smaller is insufficient for color recognition. The squares here were laid out with strips of narrow ( or inch) easily removable tape. (Try it out on a test board first, you wouldn't want the tape ripping up the surface of your board.) 对于油画颜料，我建议使用短板或画布板。两者都不需要任何准备。如果需要，只需将它们裁剪到合适的尺寸，然后在方格上放一些胶带。对于水性媒介如水彩、丙烯颜料或水粉，质量好、双层厚、光滑的插图板效果很好。我为这本书制作的图表是在 面板上完成的，每个面板上有一英寸大小的彩色方块 - 当使用图表时，比这更大会太笨重，而更小则不足以识别颜色。这里的方块是用窄条（ 或 英寸）易于拆卸的胶带铺设的。（先在测试板上试一下，你不会希望胶带撕裂板面。）
I recommend peeling away the tape as soon as you are satisfied with the mixtures, and while the paint is still wet. (Removing the tape after the paint has dried is agony.) If you wish to correct your charts at a later date, you can always put tape back on. While the charts are drying, put them where the cat won't step on them. When they are thoroughly dry (three months minimum for oil paint), give them a light coat or spray of synthetic picture varnish such as Soluvar gloss. Do not use Damar varnish or other natural resins. They yellow and darken with time, causing a very noticeable change in delicate lighter values. 我建议在您对混合物满意时立即剥离胶带，而且在油漆仍然湿润时进行。（在油漆干燥后再剥离胶带会很痛苦。）如果您希望在以后的某个日期更正您的图表，您可以随时重新贴上胶带。在图表干燥时，将它们放在猫不会踩到的地方。当它们完全干燥（油漆至少需要三个月），给它们一个轻薄的合成画面清漆喷涂，比如 Soluvar 光泽。不要使用大马尔清漆或其他天然树脂。它们会随着时间变黄变暗，导致淡色值明显变化。
THE CHART BASICS (Using my palette colors as an example.)
The initials used to designate colors on the charts are as follows:
Cadmium Lemon - CL
Cadmium Yellow Pale - CY (It's the same as Cadmium Yellow Light.)
Cadmium Yellow Deep - CYD
Yellow Ochre Light - YO
Cadmium Red - CR
Terra Rosa - TR
Alizarin Crimson - AC
Transparent Oxide Red - TOR
Viridian \(-\mathrm{V}\)
Cobalt Blue Light - CBL
Ultramarine Blue Deep - UBD
White - W
The charts in this new Alla Prima II edition are nearly the same as the set in the original printings of Alla Prima. I have made a few corrections and eliminated some of the marks of wear and tear, like the spilled coffee stains and finger marks from my frequent use. Chart number one is shown and described on the page opposite. The eleven remaining charts are explained and shown below and on the next several pages. 这个新的《Alla Prima II》版本中的图表几乎与原版《Alla Prima》的设定相同。我做了一些修正，消除了一些磨损的痕迹，比如洒在上面的咖啡渍和由于频繁使用而留下的手指印。第一个图表显示在对面的页面上并进行描述。其余十一个图表在下面和接下来的几页中进行解释和展示。
THE COLOR DOMINANT CHARTS 主导色图表
The second chart is Cadmium Lemon predominating - Cadmium Lemon mixed with each of the other palette colors (top row), with Cadmium Lemon recognizable as the stronger of the two colors in the mixture. Thus the top squares are: (1) Cadmium Lemon alone, (2) Cadmium Lemon + Cadmium Yellow Pale, (3) Cadmium Lemon + Cadmium Yellow Deep, (4) Cadmium Lemon + Cadmium Red, (5) Cadmium Lemon + Terra Rosa, and so on through Ultramarine Blue. The top mixtures are then, each in turn, lightened with white down to five values as in the first chart. 第二张图是以柠檬黄为主导 - 将柠檬黄与调色板中的每种其他颜色混合（顶行），柠檬黄在混合物中被识别为两种颜色中更强的一种。因此，顶部方块是：（1）单独的柠檬黄，（2）柠檬黄+淡黄的镉，（3）柠檬黄+深黄的镉，（4）柠檬黄+镉红，（5）柠檬黄+泥玫瑰，依此类推至群青蓝。然后，依次将顶部混合物与白色混合，直至达到第一张图中的五个值。
The third chart is Cadmium Yellow Pale predominating. The fourth chart is Cadmium Yellow Deep predominant. The fifth is Yellow Ochre Light the strongest in the mixture, then Cadmium Red, Terra Rosa, and so on until each color has been mixed with every other and rendered with white to five values. 第三张图以镉黄浅为主导。第四张图以镉黄深为主导。第五张图中，混合物中黄土浅色最强，然后是镉红、泥玫瑰等，直到每种颜色都与其他颜色混合，并加入白色调出五个色值。
Are you still with me? If not, please look at the charts in the next pages, and it will all make sense! 你还在听我讲吗？如果不明白，请翻到下一页的图表，一切都会变得清晰！
Care must be taken to avoid exactly equal mixtures. The signature color of each chart-for example, Cadmium Red in the Cadmium Red chart-should predominate, but not overwhelm. The dominant color should not saturate the entire chart to the extent you cannot tell which other color besides Cadmium Red has been mixed with it. To be sure, it's a delicate act of judgment, but that is the point of doing these charts: to sharpen your ability to make those critical color judgments when you paint. Now with colors which are very similar to begin with, in this case the first two yellows and the two blues, it is almost impossible to make crystal clear distinctions. The two Cadmiums, Lemon and Yellow Pale, or mixtures of Cobalt Blue and Ultramarine Blue, are so alike to begin with, they will lose their individual identities even more when mixed together and extended down to five values. So, the charts are all about the behavior of color, and these are just some of the valuable things you will learn. 必须小心避免完全相等的混合物。每个图表的特色颜色，例如镉红图表中的镉红，应该占主导地位，但不要压倒一切。主导色不应该使整个图表饱和到你无法分辨除了镉红之外还混合了哪种颜色。可以肯定，这是一个微妙的判断行为，但这就是制作这些图表的目的：锻炼你在绘画时做出那些关键色彩判断的能力。现在对于那些一开始非常相似的颜色，比如前两种黄色和两种蓝色，几乎不可能做出清晰的区分。两种镉色，柠檬黄和淡黄，或者钴蓝和群青的混合物，一开始就非常相似，当它们混合在一起并延伸到五个值时，它们将更容易失去各自的特性。因此，这些图表都关于颜色的行为，这些只是你将学到的一些宝贵知识。
COLOR CHART ONE - MY BASIC PALETTE COLORS 色彩图表一 - 我的基本调色板颜色
This first chart is simply the colors of my palette arranged across the top row-one square for each just as it comes from the tube - then each color lightened with white to make the five-value columns. So far so good! 这张第一张图表只是我的调色板的颜色排列在顶部一行 - 每个方块都是从管子中取出的颜色 - 然后每种颜色都加白色变浅，形成五个值的列。到目前为止一切顺利！
The bottom row should be just barely off-white-the lightest value possible while still remaining identifiable as a color. 底部一行应该是几乎是浅灰色-尽可能轻的价值，同时仍然可以被识别为一种颜色。
The middle row must be a value halfway between the top and bottom rows. Notice this will vary because the values in the top row range from very light colors (Cadmium Lemon), to very dark (Alizarin Crimson, Ultramarine Blue, etc.). 中间行的值必须是介于顶部行和底部行之间的值。请注意，这会有所变化，因为顶部行中的值从非常浅的颜色（柠檬黄）到非常深的颜色（茜素洋红，群青蓝等）不等。
The second row and fourth row are halfway values between the middle row and the bottom and top rows. 第二行和第四行是中间行与底部和顶部行之间的中间值。
Note: Cadmium Lemon and Cadmium Yellow, as I mentioned, are very light values to begin with, which makes it very hard to stretch them out to five clearly distinct values. What you see above is the best I can do with them. The others are easier, especially the darkest ones, because the difference between their natural values (top row), and their values, which are lightened up to just offwhite, are pretty clear. 注意：如我所提到的，镉柠檬和镉黄本来就是非常浅的色值，这使得很难将它们拉伸到五个明显不同的值。您在上面看到的是我能做到的最好的。其他颜色要容易一些，尤其是最暗的那些，因为它们的自然值（顶行）与它们的值之间的差异，即使是轻微变浅至接近白色，也是相当明显的。
Notice too how the naturally dark colors in the top row seem to wake up and become more colorful by just the slightest addition of white to raise their values in the third and fourth rows. All of the colors lose an incremental amount of saturation as they are lightened, and all colors become progressively cooler in temperature as they lighten. These facts apply to all of the colors on all of the remaining charts as well. 注意一下，顶部一行中自然深色调似乎在第三行和第四行中稍微加入白色以提高其亮度后变得更加丰富多彩。随着颜色变浅，所有颜色都会逐渐失去饱和度，并且所有颜色在变浅时温度逐渐变凉。这些事实同样适用于所有剩余图表中的所有颜色。
I'm sure these points must seem obvious now that I have made them, but they are important to know and remember. They will be extremely useful to have in mind as you mix and match colors for your paintings. 我相信现在我已经阐明这些观点，它们看起来肯定是显而易见的，但了解并记住它们是很重要的。在调配绘画颜色时，将它们牢记在心将会非常有用。
If at this point you have finished the charts-A BIG CONGRATULATIONS! If you feel they are not perfect, that's fine. As you can see below in the two time-worn charts from the set I did in art school sixty years ago, mine weren't masterpieces either. It is the doing of the charts that is so valuable, and I got better at it with each one I did. By the time I reached the last chart I was doing pretty good. 如果您已经完成了这些图表-祝贺您！如果您觉得它们不是 完美的，那也没关系。正如您在下面看到的，我在六十年前在艺术学校做的这套两张陈旧图表中，我的作品也不是杰作。重要的是制作这些图表，我在每做一张图表时都有所提高。到我完成最后一张图表时，我的水平已经相当不错。
The most common errors in doing the charts are an uneven transition between the values from top to bottom, and failing to make the bottom row just barely off-white. To make corrections easier, I laid out the completed colors on my palette before applying them to the canvas or panels for permanence. It is also helpful to make one inch squares. Making them larger creates charts too cumbersome to use while painting. 制作图表时最常见的错误是数值从顶部到底部的过渡不均匀，以及未能使底部行略微偏离白色。为了更容易进行更正，我在将颜色应用于画布或面板之前在调色板上摆放完成的颜色。制作一英寸的正方形也很有帮助。使它们变大会使图表过于繁琐，难以在绘画时使用。
OTHER GOOD THINGS TO KNOW 其他需要知道的好事
The first and most obvious thing you will notice after doing the charts is not only does each one appear to be an almost perfect harmony of colors (with the exception of the first chart), but each is also in harmony with at least two or more of the other charts. This is clear proof of how the predominance of a single color in all mixtures easily achieves a unifying effect, bearing in mind it is the balance of light which actually produces the dominating color when you are painting from life. It is an exaggerated effect to be sure, one the great illustrators and Masters have known and used for generations, but it is valid because it dramatically demonstrates the powerful role of a common denominator in producing color harmony. 你在制作图表后会注意到的第一件最明显的事情不仅是每个图表看起来几乎是颜色的完美和谐（除了第一个图表），而且每个图表至少与其他两个或更多的图表和谐。这清楚地证明了在所有混合物中单一颜色的优势如何轻松实现统一效果，要记住的是，当你在现实生活中绘画时，光的平衡实际上产生了占主导地位的颜色。这是一个夸张的效果，伟大的插画家和大师们世代以来都知道并使用，但它是有效的，因为它戏剧性地展示了共同因素在产生色彩和谐中的强大作用。
A word of caution, however-as you read on, you will see how simply adding a selected color such as blue, for example, to all other colors does not necessarily produce the particular blue harmony you seek in the real world of painting pictures. Why? Because the decisive common denominator guiding the colors you must mix is always the light on your subject. The charts will give you the information you will need to fully understand the discussion of color harmony later in this chapter. 然而需要注意的是-当您继续阅读时，您会看到，简单地将一种选择的颜色，比如蓝色，添加到所有其他颜色中，并不一定会在绘画图片的真实世界中产生您所追求的特定蓝色和谐。为什么呢？因为指导您必须混合的颜色的决定性共同因素始终是您主题上的光线。这些图表将为您提供您将需要的信息，以便在本章后面充分理解有关色彩和谐的讨论。
STILL MORE USEFUL OBSERVATIONS 仍然更有用的观察
See how the addition of white changes mixtures beyond merely lightening them. It creates new, cooler, colors. 看看白色的添加如何改变了混合物，不仅仅是让它们变得更轻。它创造了新的、更凉爽的颜色。
Notice how certain extremely dark colors are hard to identify until white is added to them. 注意到某些极其深的颜色在加入白色之前很难辨认。
Notice how harmony among all colors increases even more with the addition of white. 注意到当白色加入时，所有颜色之间的和谐会更加增强。
See how most colors appear more vivid in the mid-value range. 看看大多数颜色在中间值范围内看起来更加鲜明。
Observe how some mixtures yield surprising results-for example, Viridian plus Cadmium Red (or Alizarin) produces interesting violets and purples, and many mixtures duplicate one another. 观察一些混合物如何产生令人惊讶的结果-例如，翠绿加上镉红（或茜素）会产生有趣的紫罗兰和紫色，许多混合物会相互复制。
Notice as you work the charts, how pigments vary in transparency, opacity, tinting strength, and drying time. 注意在制作图表时，颜料在透明度、不透明度、着色强度和干燥时间上的变化。
Watch how easy it is to contaminate mixtures unless you keep your brush, your knife, and palette scrupulously clean as you work (especially with the very light mixtures). 看看除非你在工作时保持刷子、刀子和调色板清洁，否则很容易污染混合物（尤其是非常浅的混合物）。
Notice how simple it is with this modest palette to replicate many other colors sold in tubes. You can easily create your own Vermilion, Naples Yellow, Raw Sienna, Burnt Sienna, Burnt Umber, Raw Umber, Vandyke Brown, the Blacks, all of the Madder Lakes, Carmine, Cadmium Orange, Cerulean Blue, Prussian Blue, Permanent Blue, Turquoise, Ultramarine Violet, the Cobalt Violets, Sap Green, Olive Green, Emerald Green, Permanent Green, Sepia, English Red, Indian Red, Light Red, the Mars colors, "Flesh tints," plus every Gray available. 请注意，使用这种简单的调色板可以复制许多其他颜色，这些颜色也可以在管装颜料中找到。您可以轻松地创造您自己的朱砂红、那不勒斯黄、生黄赭、烧黄赭、烧褐、生褐、范戴克棕、各种黑色、茜素红、洋红、镉橙、天蓝、普鲁士蓝、永久蓝、绿松石、群青紫、钴紫、树脂绿、橄榄绿、翡翠绿、永久绿、赭色、英国红、印度红、浅红、火星色系列、"肤色调"，以及所有可用的灰色。
It's obviously unnecessary to have all pigments mentioned above on your palette, but it might be convenient to have some of them, perhaps because you use them a lot, or because some colors available today cannot be created with my palette set. For example, I add Thalo Green (yellow shade) to my palette for landscape and still life painting because Viridian is not always dark or transparent enough for my needs. I have also added Cadmium Orange, Cadmium Scarlet, and Winsor & Newton's Permanent Alizarin Crimson for more brightly colored effects. I also add Transparent Oxide Brown to my palette when I need a rich 显然，在调色板上并不需要所有上述提到的颜料，但可能会方便一些，也许是因为你经常使用它们，或者因为今天可用的一些颜色无法用我的调色板套装来创造。例如，我在我的调色板上添加了 Thalo Green（黄色调）用于风景和静物绘画，因为 Viridian 并不总是足够深或透明以满足我的需求。我还添加了 Cadmium Orange，Cadmium Scarlet 和 Winsor＆Newton 的 Permanent Alizarin Crimson 以获得更明亮的效果。当我需要丰富的颜色时，我还会在调色板上添加 Transparent Oxide Brown。
brown+blue mixture to create a warm black for my dark accents. 褐色+蓝色混合，为我深色装饰创造温暖的黑色。
Please note: While I use my color selections for this text, chances are you may have a different color set you are more comfortable with. If so, I recommend making charts of those for your own benefit; you might have some pleasant surprises. 请注意：虽然我在这段文字中使用了我的颜色选择，但很可能您有自己更喜欢的不同颜色组合。如果是这样，我建议您为自己制作这些颜色的图表；也许会有一些惊喜等着您。
Working in a high-key is simple-just hold back all dark values in the subject, and paint the light values just as they are. Except for an accent in the model's eye, I decided not to paint anywhere darker than a #5 value. All others darker than that in the subject were raised to in the painting. Working in a low-key is just the opposite - hold back on painting light values, and use the full range of darker values to develop the image. I find low-key paintings are difficult to exhibit-they require near-perfect lighting (a rarity) to view them well, and they are more prone to show the dirt and grime and wear which hanging works are subjected to over time. 在高调中工作很简单 - 只需保留主题中的所有暗色值，并将光色值按原样绘制。除了模特眼睛上的强调，我决定不在任何地方绘制比#5 值更暗的颜色。主题中所有比这更暗的颜色在绘画中都被提升到 。在低调中工作则正好相反 - 保留绘制光色值，使用更广泛的暗色值来发展形象。我发现低调绘画很难展示 - 它们需要接近完美的照明（罕见）才能很好地观看它们，并且更容易显示随着时间挂在墙上的作品所受到的污垢、灰尘和磨损。
My advice (plea) to you is to do the charts for your sake. (Do not just use mine instead.) The charts are not a sure-fire gimmick guaranteed to make you a color wizard, but they are the best way I know of to understand your pigments and enter the study of color on sound footing. Take your time. Don't be in a rush just to get them done. Stay alert and aware of what is happening, not only on your palette, but within yourself—-get a "feel" for your colors the way you got a feel for balance when you learned to ride a bicycle. 我给你的建议（请求）是为了你自己的利益而制作图表。（不要只是使用我的。）图表并不是一种百分之百能让你成为色彩大师的妙招，但这是我所知道的最好的理解颜料并稳固地进入色彩研究的方法。花点时间。不要急于完成它们。保持警觉，意识到发生的事情，不仅仅是在调色板上，还有在你自己内心——像学骑自行车时感受平衡一样，对你的颜色有一种“感觉”。
Impatience will well up, so will occasional exasperation as you make mistakes or struggle with decisions about the right color and value, but I urge you to stick with it. Perhaps in a way it is good the charts are somewhat agonizing. Nevertheless, you will develop the patience and self-discipline so necessary in painting. Think of the charts as an initiation ritual for what is to come, so you may endure them without giving up. As a dancer learns to tolerate pain and endless falls in order to some day soar with grace, so you must have the stubbornness to mix a color until it is precisely what you require to make your painting sing exactly as you wish. 焦躁情绪会涌现，偶尔会感到恼火，因为你犯错或在选择正确的颜色和价值方面挣扎，但我敦促你坚持下去。也许从某种意义上说，图表有点令人痛苦是件好事。然而，你将培养出在绘画中非常必要的耐心和自律。把图表看作是即将到来的入门仪式，这样你就可以忍受它们而不放弃。就像舞者学会忍受疼痛和无尽的跌倒，以便有朝一日能够优雅飞翔一样，你必须有执着，直到混合出你需要的颜色，使你的绘画完全按照你的意愿歌唱。
COLOR FAMILIES 颜色系列
In the same way a chemistry student learns the Table of Elements, or a music student learns the scales and acquires the vital understanding of key signatures, so the doing of the charts taught me to recognize colors in an organized way as families of color. For example, my pigments as they came from their tubes can be understood as: 以化学学生学习元素周期表的方式，或者音乐学生学习音阶并获得关键签名的重要理解的方式，制作图表教会了我以一种有组织的方式识别颜色，将其视为颜色家族。例如，我的颜料从管中挤出时可以理解为：
The Primary color families-ONE color alone-red, yellow, and blue (Cadmium Red, Cadmium Yellow Pale, and Cobalt Blue). 主要的颜色系列-仅有一种颜色-红色、黄色和蓝色（镉红、镉黄淡和钴蓝）。
The Secondary color families-TWO primary colors mixed together-green, violet, and orange (Viridian, Cobalt Violet, Cadmium Yellow Deep). 次要颜色系列-两种主要颜色混合在一起-绿色、紫罗兰色和橙色（翠绿、钴紫、镉黄深）。
The Tertiary color families-ALL THREE primary colors mixed together-all the grays, browns and earth colors (Transparent Oxide Red, Yellow Ochre, Terra Rosa). 三次色系-所有三种原色混合在一起-所有灰色、棕色和土色（透明氧化红、黄土、泥玫瑰）。
The remaining pigments-Alizarin Crimson, Cadmium Lemon, and Ultramarine Blue-are clearly within the red, yellow and blue families respectively. Each, however, leans very slightly toward another color-Alizarin Crimson belongs to the red family, but has a wee bit of blue in it. Cadmium Lemon belongs to the yellow family, but inclines a teensy-weensy bit toward green. Ultramarine Blue is obviously in the blue family, but tilts just barely towards red. 剩下的颜料——茜素红、镉黄和群青——分别明显属于红、黄和蓝色系。然而，每一种颜料都略微倾向于另一种颜色——茜素红属于红色系，但其中略带一点蓝色。镉黄属于黄色系，但稍微倾向于绿色。群青显然属于蓝色系，但微微向红色倾斜。
So what's the point? Aren't the names of the colors on the tubes? Well, yes they are, but names can mean anything or nothing. In perusing a current catalog of artist colors, I came across the following names: Forest Green, Ice Green, Leaf Green, Rich Gold, Green Gold, Green Earth, Luminous Opera, Portrait Pink, Pacific Blue, Kings Blue, Sky Blue, Horizon Blue, and a lot more I could not even pronounce. With my apologies to any who love those colors, my question is this: could you tell what any of those colors would look like before you first unscrewed the cap and looked? I didn't think so. So much for names. 那么重点是什么呢？颜色的名称不是写在管子上吗？是的，但名称可以意味着任何事情或什么都不意味着。在查阅一本当前的艺术家颜色目录时，我看到了以下名称：森林绿、冰绿、叶绿、丰富金、绿金、绿土、明亮的歌剧、肖像粉、太平洋蓝、国王蓝、天空蓝、地平线蓝，还有很多我甚至无法发音的颜色。对于那些喜爱这些颜色的人，我表示歉意，我的问题是：在你第一次拧开瓶盖看之前，你能告诉任何一种颜色会是什么样子吗？我想不会。名称就这么多了。
By recognizing my colors as members of family groups, I can understand them in a more organized and useful way. I have taken the fifteen or so colors I use and sorted them into three families. Three is easier to manage than fifteen. I like it when things are easier. 通过将我的颜色视为家族成员，我可以更有条理和实用地理解它们。我已经将我使用的十五种左右的颜色分成了三个家族。三个比十五个更容易管理。事情变得更容易时，我很喜欢。
My palette, and the way I identify my colors here, is somewhat different from the description I gave in my earlier books published by Watson-Guptill. What I offer here is a more comprehensive discourse, one which reflects my further adventures with color in the intervening years, and includes the minor changes and additions to my palette. 我的调色板以及我在这里识别颜色的方式，与我在早期由沃森-古普特出版的书中所描述的有些不同。我在这里提供的是一个更全面的论述，反映了我在这些年间对颜色的进一步探索，包括对我的调色板进行的轻微更改和添加。
NANCY PAINTING IN THE ROCKIES oil on panel, 南希在落基山画油画，
Some paintings, like this one above of Nancy, are like color charts themselves, but without the boredom of having the colors applied as a lot of identical squares. For this work I would say of it was done with mixtures from the Cadmium Lemon, Cadmium Yellow Light, and Cadmium Yellow Deep charts. The few reds, blues, and Nancy's blouse came from my Basic Palette chart and the Terra Rosa chart. Few scenes are as richly harmonic as this, but whatever the subject, it is always the color balance of the light which determines the harmony of the scene. 有些画作，比如上面这幅南希的画，本身就像色彩图表，但没有将颜色应用为大量相同的方块那样无聊。对于这幅作品，我会说 是用镉柠檬黄、镉浅黄和镉深黄图表中的混合色完成的。少量的红色、蓝色和南希的衬衫来自我的基础调色板图表和泥玫瑰图表。很少有场景像这样丰富和谐，但无论主题如何，光的色彩平衡始终决定着场景的和谐。
In the example above, it was natural daylight, but heavily weighted with color frequencies in the yellow-green segment of the spectrum. This is a bit unusual but it happened because it was a misty morning with the sun illuminating the mist. Also, reflected light was scattered upward from the green ground cover back into the mist. It was one of those light conditions one might see in an aquarium. 在上面的例子中，这是自然日光，但色频在光谱的黄绿色段中占据了重要位置。这有点不寻常，但发生了，因为那是一个有雾的早晨，太阳照亮了雾气。此外，反射光从绿色地面覆盖物向上散射回雾中。这是人们可能在水族馆中看到的光线条件之一。
PREDOMINANCE 主导地位
Taking things another step, I organized the color family groups into a more specific and inclusive arrangement. The following is how I classified the little squares of chart colors into families of predominance. Take a look at the Yellow Ochre and Cadmium Red charts below as good examples. Despite the fact Yellow Ochre was mixed into all of the colors on that chart, only the first four columns clearly belong to the yellow family. The next four columns incline toward orange, and the last three to the green family. On the Cadmium Red chart, columns two, three, and four belong to the orange family; nine, ten, and eleven to the violet. 将事情推进一步，我将颜色家族分组整理得更具体和包容性。以下是我如何将色卡上的小方块颜色分类为主导家族的方式。看一下下面的黄土和镉红色卡，作为很好的例子。尽管黄土被混合到该色卡上的所有颜色中，但只有前四列明显属于黄色家族。接下来的四列倾向于橙色，最后三列倾向于绿色家族。在镉红色卡上，第二、三、四列属于橙色家族；第九、十、十一列属于紫色。
If you look carefully at the other charts, you will see this same presence of color families within the harmonies inherent in those charts (except chart one). In other words, while every chart but the first one is a harmony based on the dominant tone in each, individual columns within the chart can also belong to one or more color families. 仔细观察其他图表，你会发现这些图表中同样存在着色彩家族的和谐（除了第一个图表）。换句话说，除了第一个图表外，每个图表都是基于各自主导音调的和谐，图表内的各列也可以属于一个或多个色彩家族。
I sorted out my colors so I could recognize which family a particular mixture (or a color in nature) belonged to, regardless of the chart it might be in. Many colors are virtually identical to some colors in other charts, which means there is more than just one way to arrive at the same color. 我整理了我的颜色，这样我就可以识别特定混合物（或自然界中的颜色）属于哪个色系，而不管它可能在哪个调色板中。许多颜色与其他调色板中的一些颜色几乎完全相同，这意味着达到相同颜色的方法不止一种。
This is what I came up with, and it is how I think of color today: 这就是我想到的，也是我今天对颜色的看法：
THE RED DOMINANT FAMILY-Any mixture in which Cadmium Red, Cadmium Scarlet, Terra Rosa, or Alizarin 红色主导家族-任何混合物中都含有镉红、镉朱红、地脂红或茜素
Crimson strongly prevails. 深红色强势主导。
THE YELLOW DOMINANT FAMILY-Any mixture in which Cadmium Lemon, Cadmium Yellow, or Yellow Ochre Light strongly prevails. 黄色主导家族-任何混合物中，镉柠檬、镉黄或浅黄土强势占据。
THE BLUE DOMINANT FAMILY-Any mixture in which Cobalt Blue or Ultramarine Blue strongly prevails. 蓝色主导家族-任何混合物中，钴蓝或群青蓝占据主导地位。
4. THE ORANGE DOMINANT FAMILY 4. 橙色主导家族
a. Any mixture in which Cadmium Orange prevails. a. 任何以镉橙为主的混合物。
b. Any combination of the yellows and reds (to make orange) which does not clearly belong to either the red or yellow family. b. 任何黄色和红色的组合（制成橙色），不明显属于红色或黄色家族中的任何一种。
c. Any addition of any other color to the orange mixture above, which leaves orange predominating even slightly. These are usually, but not always, tertiary mixtures. c. 将任何其他颜色添加到上述橙色混合物中，即使略微以橙色为主。这些通常是三次混合物，但并非总是如此。
5. THE GREEN DOMINANT FAMILY 5. 绿色主导家庭
a. Any mixture in which Viridian predominates. a. 任何以翠绿色为主导的混合物。
b. Any combination of blues and yellows (to make green) which does not clearly belong to either the blue or yellow family. b. 任何蓝色和黄色的组合（制造绿色），不明显属于蓝色或黄色家族的任何组合。
c. Any addition of any other color to the green mixture above, which leaves green predominating even slightly. These are usually, but not always, tertiary mixtures. c. 将任何其他颜色添加到上述绿色混合物中，即使略微以绿色为主。这些通常是，但并非总是，三次混合物。
6. THE VIOLET DOMINANT FAMILY 6. 紫罗兰主导家族
a. Any mixture with Cobalt Violet or other similar Violet or Purple predominant. a. 任何与钴紫或其他类似的紫色或紫色为主的混合物。
b. Any mixture of the blues and reds to make violet or purple which does not clearly belong to either the blue or red family. b. 任何混合蓝色和红色以制成紫罗兰色或紫色的颜色，不明显属于蓝色或红色家族。
c. Any addition of any other color to the violet mixture above, which leaves violet or purple predominating even slightly. These are usually, but not always, tertiary mixtures. c. 将任何其他颜色添加到上述紫色混合物中，即使略微偏向紫色或紫色占主导地位。这些通常是三次混合物，但并非总是如此。
THE ACHROMATIC COLORS 无色彩的颜色
All achromatic colors are mixtures of all three primary colors so nondescript they cannot be identified as belonging to any of the six color families described above. By definition, these are always tertiary mixtures, whether they come in a tube or are mixed from colors on a palette. They include a wide range of colors commonly referred to as the Browns or the Grays. The Grays are usually thought of as being the lighter values (as in gray clouds). We usually refer to the Browns as the darker nondescript colors. In real life, of course, grays and browns usually have tags on them, such as blue-gray, reddish-brown, charcoal gray, and others. Achromatic colors also come in tubes as well. Some examples are Burnt Umber, Sepia, Transparent Oxide Brown, and more. 所有无色彩是由所有三原色混合而成的，它们如此不起眼，以至于无法被识别为属于上述六种颜色系列中的任何一种。根据定义，这些总是三次混合物，无论它们是从管中取出还是从调色板上混合而来。它们包括一系列常被称为棕色或灰色的颜色。灰色通常被认为是较浅的值（如灰云）。我们通常将棕色称为较深不起眼的颜色。在现实生活中，灰色和棕色通常会有标签，如蓝灰色、红棕色、炭灰色等。无色彩也可以以管装出售。一些例子包括烧土棕、乌贝尔、透明氧化棕等。
All achromatic colors can be mixed from practically any palette having the three primary colors on it, plus white and black. From time to time, most of us create these nameless colors inadvertently as we try to match colors in a subject. It's nothing to be concerned about though, because none of this really matters. All of these colors change the way they look according to their surrounding colors anyway. It's just nice to know about. 所有无色彩都可以从几乎任何调色板上混合出来，只要上面有三原色，加上白色和黑色。大多数时候，我们在试图匹配主题中的颜色时无意中创造出这些无名颜色。不过，这并不值得担心，因为这些都不重要。无论如何，所有这些颜色都会根据周围的颜色而改变外观。了解这些只是一种美好的感觉。
In case you think I was (or am) a fanatic about making dry analytical lists, I'm not. In my student days, I did not take the trouble to write down these groupings as I'm doing here. I was fascinated with what was happening as I mixed my paints, and I noticed certain key things as I went along. That's all I did. I realized the charts were not some foolproof system for turning me into a color mastermind. They were an orchestration of the six fundamental colors: red, yellow, blue, violet, orange, and green. With these few pigments I could produce countless variations. And, I became aware of an emerging order as I was working with them. 如果你认为我是（或者曾经是）一个狂热的制作干燥分析列表的人，那你错了。在我读书的时候，我并没有费心去把这些分组写下来，就像我现在这样做的那样。我对混合颜料时发生的事情着迷，我在进行作画时注意到了一些关键的事情。这就是我所做的一切。我意识到这些图表并不是将我变成色彩大师的一套万无一失的系统。它们是六种基本颜色的编排：红色、黄色、蓝色、紫色、橙色和绿色。用这几种颜料，我可以产生无数的变化。而且，当我与它们一起工作时，我意识到了一种新秩序的出现。
GOOD VIBES 好心情
Each chart I completed gave me one of those electrifying "AH-HA" experiences, as in, "AH-HA so that's what blue does!" That's how green works-and so on. The simple patterns somehow clicked in my mind. It wasn't an original or particularly brilliant discovery, it was just my turn to play. I learned the immutable relationship between color and values-mainly that a color becomes a new color in the act of lightening or darkening it. I mentioned earlier that adding white to a pigment or mixture not only lightens it but changes its temperature by cooling it. This creates a new color. Using a color to darken another color does the same thing-it yields a new color. Yellow, for example, cannot simply be lightened or darkened and still remain the same yellow. It will be in the yellow family, but regardless of what I use to change its value, it will be a lesser or greater "yellow" than it was. The same goes for any other color. 我完成的每张图表都给了我一种令人兴奋的“啊哈”体验，比如，“啊哈，原来蓝色是这样的！”绿色是这样运作的，等等。这些简单的模式在我的脑海中融会贯通。这不是一个原创或特别聪明的发现，只是轮到我玩了。我学到了颜色和价值之间不变的关系 - 主要是颜色在变浅或变深的过程中变成新颜色。我之前提到，向颜料或混合物中添加白色不仅会使其变浅，还会通过降温改变其温度。这会创造出一种新颜色。使用一种颜色来加深另一种颜色也会产生同样的效果 - 它会产生一种新颜色。例如，黄色不能简单地变浅或变深而仍然保持原来的黄色。它将属于黄色系，但无论我用什么来改变它的价值，它都会比原来的“黄色”更淡或更浓。其他颜色也是如此。
CHAPTER NINE-COLOR HARMONY 第九章-色彩和谐
The noun "harmony," as it refers to color, is another of the many loosely defined terms which can mean almost anything. To my late Aunt Maniac, a chair covered in chartreuse and electric purple went beautifully with her pink and silver drapes and orange rug. Most normal people, thank God, have a more restrained taste, and regard harmony simply as a "pleasing" set of colors. They have an uncomplicated notion of what-goes-with-what based on fashionable notions of what is proper. 名词“和谐”，就颜色而言，是另一个可以几乎意味着任何东西的众多定义不明确的术语之一。对我已故的疯狂姑姑来说，一把覆盖着查特鲁斯和电紫色的椅子与她的粉红色和银色窗帘以及橙色地毯搭配得很美。感谢上帝，大多数正常人有着更加克制的品味，将和谐简单地看作是一组“令人愉悦”的颜色。他们对什么搭配什么有着简单的概念，基于时尚概念中什么是合适的。
For example - way, way, back in time in the early 1950s, when I was in high school, girls wore what were then called matched outfits-light pink dresses, dark pink shoes, off-white pink hats, and so on. (You could easily tell girls from boys in those days.) Automobiles were two-toned, light blue on top, dark blue on the bottom. Rooms had light blue-green floral wallpaper, yellow and green rugs, green-patterned upholstered furniture, and so on. Color combinations such as those were the fashions of the times. They merely reflected current ideas about what contemporary designers considered "appropriate," or to use their favorite term, "smart." I have no problem with any of that. In a way it was fun. The girls looked really cute. The color of a car meant nothing as long as I had one (it was a 1936 Pontiac, straight eight), and my Aunt Maniac was a very nice lady in spite of her quirky tastes. None of these notions of harmony are of any importance whatsoever in what we will be exploring here. 例如 - 在很久很久以前的 1950 年代初期，当我还在高中时，女孩们穿着当时被称为搭配套装的衣服-浅粉色连衣裙，深粉色鞋子，米白色粉红色帽子等等。（在那个年代，很容易就能区分男孩和女孩。）汽车是双色的，顶部是浅蓝色，底部是深蓝色。房间里有浅蓝绿色的花卉壁纸，黄色和绿色的地毯，绿色图案的软垫家具等等。这些颜色搭配就是当时的时尚。它们只是反映了当时对于当代设计师认为“合适”的想法，或者用他们最喜欢的术语来说，“时髦”。我对这一切都没有任何意见。在某种程度上，这很有趣。女孩们看起来真的很可爱。汽车的颜色无关紧要，只要我有一辆车（那是一辆 1936 年的庞蒂亚克，直八缸），而且我的疯狂阿姨是一个非常好的女士，尽管她有些古怪的品味。在我们这里要探讨的内容中，这些和谐的概念一点重要性都没有。
Harmony, as I discuss it in this book, is an entirely different view of color harmony I described above. For our purposes (particularly in painting from life) we need a more useful grasp of what makes colors seem to belong together. We must understand how nature makes it happen, and why some colors can sometimes look all wrong in a painting. All colors in a painting, however, cannot be wrong at the same time. Usually, there are only a few culprits, and I shall tell you why. 和谐，正如我在本书中所讨论的，是我上面描述的色彩和谐的完全不同观点。对于我们的目的（特别是在写生绘画中），我们需要更有用的把握，了解是什么让颜色看起来彼此协调。我们必须理解自然是如何让这种情况发生的，以及为什么有些颜色有时在画作中看起来完全不对。然而，一幅画中的所有颜色不可能同时出错。通常，只有少数几个罪魁祸首，我将告诉你为什么。
LIGHT HARMONY IS THE THING THAT HAPPENS WHEN THE LIGHTS GO ON, WHETHER IT IS THE SUN COMING UP, OR A LIGHT SWITCH BEING FLICKED ON. 光的和谐是当灯光亮起时发生的事情，无论是太阳升起，还是开关被打开。
Well, what does happen? This happens: ALWAYS, whether it is the sun, the full moon, a table lamp, or even the dizzy street lights of big cities: the source of light, or any combination of sources, produces a predominating effect influencing the color of everything in sight. The color of the light acts as a common denominator to visually unite everything it illuminates. 嗯，发生了什么？这就是发生的事情：无论是太阳、满月、台灯，甚至是繁华都市的晃眼街灯：光源，或任何光源的组合，都会产生一种主导效应，影响视野中所有事物的颜色。光的颜色作为一个共同的因素，视觉上统一了它照亮的一切。
THEREFORE, LIGHT PRODUCES HARMONY IN A SUBJECT. (And don't forget it!) 因此，光线在主体中产生和谐。（别忘了！）
Local colors illuminated under the same light source, or combinations of sources, absorb and reflect the wavelengths of light they receive in direct proportion to the distribution of color radiating from the light source. Because of that, the colors of things in the visual field appear to mutually reinforce one another. This constitutes an order-a relationship which unites colors, and also which is what I refer to hereafter as harmony. 在相同光源下照亮的局部颜色，或者光源的组合，会按照从光源辐射出的颜色分布比例吸收和反射它们接收到的光波长。因此，视野中物体的颜色似乎相互加强。这构成了一种秩序 - 一种将颜色统一起来的关系，也是我在此之后所指的和谐。
By the way, it is irrelevant to the fact of harmony whether or not a particular one is pleasing to you. A harmonious color relationship, as I define it, does not come with a guarantee you will enjoy it. Enjoyment or dislike of colors is a purely emotional response you and I have-a value judgment if you will. The "strip" in Las Vegas may give you the screaming meemies (or, God forbid, you may like it), but it is still a harmony of sorts-and harmony, pleasing or repulsive, is what makes things look normal. If, under Las Vegas' glaring lights, people looked as if they were in soft romantic candlelight, you might think you were going batty. Why? Because it could not possibly happen, given the lights there. As you paint, if you change the colors you see to make them more pleasing to yourself, that is your choice as an artist, but they might not necessarily match the actual colors in the subject. 顺便说一句，一个特定颜色是否令你愉悦与和谐无关。正如我所定义的，和谐的色彩关系并不保证你会喜欢它。对颜色的喜好或厌恶是你和我纯粹的情感反应，是一种价值判断。拉斯维加斯的“赌博大道”可能让你感到恐惧（或者，天哪，你可能会喜欢它），但它仍然是某种形式的和谐——和谐，无论是令人愉悦还是令人厌恶，都是使事物看起来正常的原因。如果在拉斯维加斯刺眼的灯光下，人们看起来像是在柔和浪漫的烛光中，你可能会觉得自己要发疯。为什么？因为在那里的灯光下，这是不可能发生的。当你绘画时，如果你改变所看到的颜色使它们更符合你的喜好，那是你作为艺术家的选择，但它们不一定与主题中的实际颜色相匹配。
WILDFLOWERS oil on panel, WILDFLOWERS 油画板，
I set the tone for the harmony in this little sketch by applying a turpentine wash of Thalo Green and Yellow Ochre over the entire panel. (This panel is 1/4 inch untempered Masonite sized with rabbit skin glue, and primed with a white lead ground.) I enhanced the richness of the greenish wash by applying it unevenly, making it slightly lighter and darker, and varying the green by adding Cadmium Yellow Deep and Cadmium Orange here and there, but never enough to seriously disturb the dominance of green. From that preparation it was relatively easy to first establish the green foliage, and after that, to lay in my big punches with Cadmium Orange, Cadmium Yellow Deep, and Cadmium Red. 我通过在整个画板上涂抹一层 Thalo Green 和 Yellow Ochre 的松节油水洗来为这幅小速写设定和谐的基调。（这块画板是用兔皮胶调整大小的 1/4 英寸未经调和的马赛尼特板，并涂以白铅地面。）我通过不均匀地涂抹增强了绿色水洗的丰富度，使其略微变浅和变深，并通过在其中添加 Cadmium Yellow Deep 和 Cadmium Orange 来改变绿色，但从未足以严重干扰绿色的主导地位。通过这种准备，首先建立绿色叶子相对容易，之后，用 Cadmium Orange、Cadmium Yellow Deep 和 Cadmium Red 进行大面积的涂抹也就顺理成章了。
From the fact that light produces color harmony, (whether it pleases you or not), I made the inference that light itself does not lighten or darken without also changing its apparent color! That was an astounding idea-a Law of Nature (Richard's Law?). It explained the world of color to me so simply! 从光产生色彩和谐的事实（无论你是否喜欢），我推断出光本身不会只变亮或变暗而不改变其明显的颜色！这是一个惊人的想法-自然法则（理查德定律？）。它如此简单地向我解释了色彩的世界！
I realized color was like silly putty—I couldn't move it around or even look at it without changing it. Why? Because moving it changed it relative to the colors it (and I) was moving within, and the light I used to see it with made it look the way it did. Doing the charts showed me dramatically how colors are transformed by surrounding colors-even how white, unmixed, takes on the blush of its neighbors. 我意识到颜色就像是愚蠢的橡皮泥 - 我无法移动它或者甚至看着它而不改变它。为什么？因为移动它会使它相对于它（和我）所处的颜色发生变化，而我用来看它的光线会使它看起来如此。做图表让我明显地看到颜色是如何被周围的颜色转变的 - 甚至未混合的白色也会带上邻居的红晕。
In school and for a long time afterward, the charts were always at my side when I painted. I referred to them constantly as I tried to match the colors in my subjects. It was wonderful to be able to glance at the model, then down at a chart, and instantly be able to identify the families of colors I was seeing-and then to know exactly what mixtures made those colors! The charts became as familiar to me as the scales I played on my piano. They were my well-worn secret friends. 在学校以及之后很长一段时间，当我绘画时，图表总是在我身边。我经常参考它们，试图匹配我的作品中的颜色。能够瞥一眼模特，然后看一眼图表，立即就能识别我所看到的颜色系列，然后准确地知道是什么混合物构成了这些颜色，这感觉太棒了！这些图表对我来说变得如此熟悉，就像我在钢琴上演奏的音阶一样。它们是我熟悉的秘密朋友。
It wasn't long until I had internalized the information in the charts. In current parlance you could say I downloaded the data files into my brain's hard drive. I can now see whole combinations of colors and automatically recognize them, the same way I can tell flavors by their taste. Today I can look at a patch of grass in the sun, for example, and instead of thinking, "Gee whiz! Look at the lovely green," I automatically recognize it as probably Viridian with Cadmium Yellow Pale, plus White, at about a number four value, with Viridian predominating. In the same way I now see an edge as a specific type of brushstroke, I see a color as first belonging to a family, then a specific combination of pigments within the family. In other words, I recognize a family of color immediately, then which other color it leans toward, and how dark or light it is. I know this kind of thinking doesn't sound very thrilling or "arty," but it certainly leads to satisfyingly authentic color. Its a lot more useful than seeing a color and just thinking how nice it is. 我很快就内化了图表中的信息。用现在的说法，可以说我把数据文件下载到了大脑的硬盘里。我现在能够看到整个颜色组合，并自动识别它们，就像我能够通过味道来辨别口味一样。今天，例如，我可以看着阳光下的一块草地，而不是想着，“哇！看这美丽的绿色”，我会自动认出它可能是铬绿与镉黄淡色，再加上白色，价值约为四号，铬绿为主导。同样，我现在看到边缘就像一种特定类型的笔触，看到颜色首先属于一个色系，然后是该色系内特定的颜料组合。换句话说，我立即识别出一个色系，然后它偏向于哪种颜色，以及它是多么深或浅。我知道这种思维听起来并不令人兴奋或“艺术”，但它确实会导致令人满意的真实颜色。这比看到一种颜色然后只想着它有多漂亮要有用得多。
THE DYNAMICS OF HARMONY 和谐的动态
If any light source on a subject changes significantly, or a new one is introduced, the overall harmony changes. Every source of light, natural or artificial, has a specific balance of colors. Some light is very blue, some is loaded with yellow, some may be more orange, and so on. Often, single light sources cause strikingly obvious harmonious effects. (A red sky at sunset, for example, or the orange glow of a fireplace, or moonlight.) Less "pleasing" harmonies (but harmonies nevertheless) occur under sodium vapor or mercury vapor street illumination. (They tend to be severely monochromatic, and they make you look strangely sick.) 如果主体上的任何光源发生显著变化，或者引入新的光源，整体和谐度会发生变化。每一种光源，无论是自然的还是人造的，都有特定的色彩平衡。有些光是非常蓝的，有些充满黄色，有些可能更偏橙色，等等。通常，单一光源会产生明显的和谐效果。（比如日落时的红色天空，壁炉的橙色光辉，或月光。）较少“令人愉悦”的和谐（但仍然是和谐的）出现在钠蒸汽或汞蒸汽路灯照明下。（它们往往是严重单色的，会让你看起来奇怪地生病。）
Harmony then is not, "what goes with what?" It is more like "What color doesn't belong?"-WHAT ISN'T POSSIBLE UNDER THIS LIGHT? Certain colors simply cannot occur under given light conditions. The more limited a light spectrum is, the fewer colors there will be, and therefore, the stronger and more obvious the harmony will appear. For example, a light source which puts out only one color, such as the red safelight in a darkroom, will make most things look red. (Except red objects, which will appear white because they reflect nearly of the light, and green objects will look black because they absorb of the light—-no kidding, try it.) 和谐并不是“什么与什么搭配？”而更像是“哪种颜色不合适？”-在这种光线下不可能发生什么？在特定的光线条件下，某些颜色根本无法出现。光谱越有限，可见颜色就越少，因此和谐度就会更加突出和明显。例如，在暗房中只发出一种颜色的光源，比如红色安全灯，会使大多数物体看起来是红色的。（除了红色物体，它们会显白，因为它们几乎反射了 的光线，而绿色物体会显黑，因为它们吸收了 的光线——别开玩笑，试试看。）
PROVE IT TO YOURSELF 证明给自己看
Make this simple test. Get some colored cellophane or colored glass (camera filters work nicely), and look at familiar scenes through it. You can also go to a drugstore or supermarket and try on all the different sunglasses you can (especially the red, yellow, or blue ones) - then notice how the different tints of the sunglasses seem to transform the colors (and values) of things in the store. See how colors "come together" and seem to participate in a single common color. (Do not wear the blue or green sunglasses if you intend to buy groceries, especially meat.) 进行这个简单的测试。拿一些有色塑料纸或有色玻璃（相机滤镜效果很好），透过它看熟悉的场景。你也可以去药店或超市，试戴所有不同的太阳镜（尤其是红色、黄色或蓝色的）- 然后注意太阳镜的不同色调似乎如何改变商店里物品的颜色（和价值）。看看颜色如何“融合”并似乎参与到一个共同的颜色中去。（如果你打算购物，尤其是买肉，不要戴蓝色或绿色的太阳镜。）
What is happening is this-in looking through the colored glass or cellophane you are effectively replicating what nature does with light-you are filtering out some frequencies of the spectrum and allowing others to come through. You might regard this little exercise as an exaggeration of how nature behaves, but it isn't. The range of color circumstances nature can provide us with is infinitely more than we could ever hope to duplicate with man-made filters. 所发生的事情是这样的-透过有色玻璃或塑料纸看，实际上是在复制自然光的作用-你正在过滤掉光谱中的一些频率，让其他频率通过。你可能认为这个小练习是对自然行为的夸大，但事实并非如此。自然可以提供给我们的色彩范围远远超过我们用人造滤镜所能希望复制的。
TO ACHIEVE HARMONY IN A PAINTING, IT IS USUALLY ONLY NECESSARY TO RECOGNIZE THE COLOR PREDOMINATING IN THE LIGHT ILLUMINATING YOUR SUBJECT, AND THEN RESTRAIN ITS COMPLEMENT. 要在一幅画中实现和谐，通常只需要识别照亮你的主题的光线中占主导地位的颜色，然后抑制它的补色。
You will remember how the root meaning of the word complement is "to complete." (As opposed to compliment, which is a word of praise.) So we know the complement of red is green. Why does green complete anything? Well, because green is a mixture of yellow and blue, so red plus its complement, green, means we now have red, yellow, and blue, all three primary colors together. Doing this completes the Primary Triad-red, yellow, and blue-now a complete complement. 你会记得“补充”这个词的根本含义是“完成”。（与赞美的“compliment”相对，后者是一种赞美之词。）所以我们知道红色的补色是绿色。为什么绿色能够完成任何事情呢？因为绿色是黄色和蓝色的混合，所以红色加上它的补色绿色，意味着我们现在有了红色、黄色和蓝色，三原色齐聚一堂。这样做完成了原色三角形-红、黄、蓝-现在是一个完整的补色。
By "restrain" a color I do not mean eliminate it. Nothing quite as drastic, please. I just mean subdue it a bit by not showing it in its purest form. At first glance, this may sound like a rule, but in fact it is simply a guideline based on the natural action of light. In warm light, for example, blues will probably contain at least some red or yellow, thus appearing less blue-how much less blue depends on how warm the light is. The judgment is entirely up to you. However, knowing certain colors will probably have to be moderated to achieve a harmony will help your decision making. 通过“抑制”一种颜色，我并不是指消除它。请不要做得那么极端。我只是指让它稍微收敛一点，不要展现出其纯粹的形式。乍一看，这可能听起来像是一条规则，但实际上它只是基于光的自然作用的一个指导方针。例如，在温暖的光线下，蓝色可能至少会包含一些红色或黄色，因此看起来不那么蓝——有多少不那么蓝取决于光线有多温暖。判断完全取决于你。然而，了解某些颜色可能需要调和以达到和谐将有助于你的决策。
Your perception and evaluations (and mine too) are a part of the equation, but there is no formula for it, because it is something purely personal. I mentioned earlier in this book about Monet and Renoir painting the same subjects at the same time. Renoir's harmonies were more blue and green; Monet's leaned slightly toward blue-violet. Both look superbly authentic. The necessary subjectivity is obviously always a vital ingredient in creating art. Without it, there would be no art. 你的感知和评价（以及我的）是方程式的一部分，但并没有公式，因为这是纯粹个人的事情。我在本书中早些时候提到莫奈和雷诺阿同时绘制相同主题的画作。雷诺阿的和谐更多地是蓝色和绿色；莫奈的略微偏向蓝紫色。两者看起来都极为真实。显然，必要的主观性在创作艺术中始终是至关重要的成分。没有它，就不会有艺术。
WASHERWOMAN ROCKS oil on canvas, , Isle of Monhegan, 1964 WASHERWOMAN ROCKS 油画布, , 蒙黑根岛, 1964
This extraordinary capture of a crashing wave is extraordinary because I painted it while viewing it through a pair of binoculars, so for the most part, it was a one-handed painting. Waiting for just the right moment of sunlight, I had set up my easel on one of Monhegan Island's cliffs. The binoculars were necessary because the rocks in those Atlantic waters were at least three or four hundred yards from me, and I needed the magnification in order to see the specific drawing, color changes, and edges. 这幅关于破浪的非凡捕捉之所以非凡，是因为我是通过望远镜观看并绘制的，因此在大部分时间里，这是一幅单手绘画。我等待着阳光的恰到好处时机，在蒙黑根岛的悬崖之一搭起了画架。望远镜是必需的，因为大西洋水域中的岩石距离我至少三四百码，我需要放大来看清具体的线条、颜色变化和边缘。
THE COMPLEMENTS OF PRIMARY AND SECONDARY COLORS ARE: PRIMARY AND SECONDARY COLORS 的互补色是：
Complement 互补
Complement 互补
RED.........................GREEN
GREEN.
YELLOW................VIOLET
VIOLET .......... 紫罗兰..........
BLUE .....................ORANGE 蓝色.....................橙色
ORANGE....................... BLUE 橙色....................... 蓝色
Let us suppose, for example, you are setting up to paint in your north light studio and the sky outside your window is a deep clear blue. This produces light which is very cool, and definitely on the blue side. It means all mixtures of orange (the complement of blue) will probably have to contain at least traces of blue (or green or violet) to produce the appropriate harmony. If you are working with light which is predominantly orange or yellow (such as in tungsten lamps), the blue family will be correspondingly less "blue." Such extremes of color saturation of the light are fairly easy to identify. 假设，例如，您正在准备在您的北光工作室绘画，窗外的天空是深蓝色的。这产生的光线非常凉爽，明显偏蓝。这意味着所有橙色（蓝色的互补色）的混合物可能至少需要含有一点蓝色（或绿色或紫色）才能产生适当的和谐。如果您正在使用主要是橙色或黄色（例如钨灯）的光线工作，蓝色系将相应地较少“蓝色”。这种光线的色彩饱和度极端很容易识别。
WHAT IF YOU CAN'T IDENTIFY THE PREDOMINANT COLOR IN THE LIGHT? 如果你无法确定光线中的主导颜色是什么呢？
Good question! Sometimes we paint under conditions in which our light source is so evenly balanced, it lacks a clearly identifiable color harmony or temperature. Under such average light conditions, the ambient harmony is not well pronounced because the color of the light is not clearly weighted toward any single color. In these situations, you need only pinpoint the TEMPERATURE of the light and then stay within it to achieve an effect that appears credible. (It means, for example, in north daylight keeping your shadows warmer than the light areas, and doing the opposite in warm light.) 好问题！有时候我们在光源均衡到缺乏明确可识别的色彩和温度和谐的条件下绘画。在这种平均光照条件下，环境和谐并不明显，因为光线的颜色没有明显地偏向任何单一颜色。在这种情况下，你只需要准确把握光线的温度，然后保持在其中，以达到看起来可信的效果。（比如，在北方白天，让阴影比光线区域更暖和，而在温暖的光线下则相反。）
Once you have determined the temperature of the light, be careful to scrupulously maintain not only the appropriate relationship (cool lights, warm shadows, for example), but also the degree of temperature difference between the light and shadow throughout the painting. (How warm the shadows are compared to the light areas.) This will give your color work a solidly authentic look. An arbitrary deviation from the temperature relationship will produce a weak and ambiguous effect. 一旦确定了光线的温度，请小心地严格保持不仅是适当的关系（例如，冷光，暖影），还有光与影之间的温度差异程度在整幅画中。 （阴影相对于光区有多温暖。）这将使您的色彩作品看起来非常真实。从温度关系任意偏离将产生弱而模糊的效果。
MUD COLOR 泥色
If you know you have mixed the right color families for an area of your painting, but the colors still look "wrong," it is invariably because they are not the correct temperature for the harmony you are working in. "Muddy" color, for example, is simply a color inappropriate in temperature-as when you place a cool color in what should be a warm shadow on your painting. The only other cause I can think of for a color looking "wrong" is simply that it is incorrect in value (too light or too dark compared to what is on your subject). If this is so, make sure the color you correct it with is consistent with the temperature which must be maintained. For example, if you are darkening a color in a warm shadow, don't use blue or any other color too cool. 如果你知道你已经混合了绘画区域的正确色系，但颜色看起来仍然“不对”，那通常是因为它们的温度与你正在处理的和谐不正确。例如，“浑浊”的颜色就是一种温度不合适的颜色，比如当你把一个凉色放在本应是暖色阴影的位置上。我能想到的另一种颜色看起来“不对”的原因只是它在价值上不正确（与你的主题相比太浅或太暗）。如果是这样，请确保你用来纠正的颜色与必须保持的温度一致。例如，如果你在一个暖色阴影中加深颜色，不要使用蓝色或任何其他过于凉爽的颜色。
Any departure from the temperature structure you have decided upon must be done for a good reason and with deliberate intent if you want your picture to look faithful. You must know why and to what exact purpose you are stepping outside the bounds of the temperature system you are working with. When you do know what you are doing and why you are doing it, you can reverse the temperature relationship with stunning effect-a trick the great illustrators used whenever they could get away with it. 任何偏离您已决定的温度结构的行为必须有充分的理由，并且必须有故意的意图，如果您希望您的图片看起来忠实。您必须知道为什么以及您正在使用的温度系统的确切目的是什么。当您知道自己在做什么以及为什么这样做时，您可以以惊人的效果逆转温度关系-这是伟大插图画家在能够逃脱时使用的技巧。
N.C. Wyeth, for example, loved to put a hot yellow-orange light within a cool blue painting-as when he painted a candlelit window at night. Frederic Remington did it nicely too when he gave us the fiery yellow discharge of a gunshot in cool moonlight. John Singer Sargent enjoyed the temperature intricacies of the highlights and shadows in the satin gowns worn by many of his sitters. The Dutch painters discovered those same delightful color reversals 200 years before Sargent. 例如，N.C. Wyeth 喜欢在凉爽的蓝色画作中加入炽热的黄橙色光线，就像他在夜晚画蜡烛照明的窗户时那样。Frederic Remington 也很擅长，当他在凉爽的月光中展现火红的枪声时。John Singer Sargent 喜欢他许多模特身上穿着的缎子礼服中的高光和阴影的温度细微差别。而荷兰画家在 Sargent 之前 200 年就发现了同样令人愉悦的色彩反转。
Such flourishes look convincing because they actually do occur in the subject, but other liberties are possible even when they don't happen naturally. Remember though, all of these manipulations look authentic only when the overall harmony in a picture is sound and the anomaly makes sense as a believable part of the subject. 这样的装饰看起来令人信服，因为它们实际上确实出现在主题中，但即使在自然情况下没有发生时，也可能存在其他自由度。请记住，所有这些操控只有在图片整体和谐且异常之处作为主题可信的一部分时才看起来真实。
HOW TO REALLY MESS UP HARMONY 如何真正破坏和谐
Perhaps the oldest, most time-honored, seemingly most plausible (and wrong) method of creating a harmonious color relationship is the practice of premixing a single color into every other color on the palette before starting a painting. At first glance this idea seems to make sense. If the light is bluish, for example, then blue must be in every color on the subject. Right? So if blue is premixed into every color to be used, a harmony (so the theory goes) will naturally and automatically result. Another variation on this system (still using blue as an example) is to mix blue into the pile of white to be used. Since white is used in so many mixtures in a typical painting, the presumption is the blue (already mixed into the white) will somehow work its way onto the canvas in the course of mixing, and thus create a harmony. The reason these two systems fail is a true harmony requires different amounts of the key color for each and every mixture in a painting, and there is no way to predict it in advance. 也许是最古老、最受尊敬、看似最合理（但实际上是错误的）创造和谐色彩关系的方法之一，是在开始绘画之前将单一颜色预先混合到调色板上的每一种颜色中。乍一看，这个想法似乎是有道理的。例如，如果光线呈蓝色，那么主体上的每种颜色都必须含有蓝色。对吧？因此，如果将蓝色预先混合到将要使用的每种颜色中，一个和谐（理论上如此）将自然而然地产生。这个系统的另一个变体（仍以蓝色为例）是将蓝色混合到将要使用的白色堆中。由于在典型绘画中白色用于许多混合中，假设是蓝色（已混合到白色中）将在混合过程中以某种方式进入画布，从而创造和谐。这两种系统失败的原因是真正的和谐需要在绘画中的每一种混合中使用不同数量的主色，而且无法提前预测。
Still another incredibly tedious method (I've seen this many times) involves mixing all the anticipated shades of color to be used in a painting before putting them on the canvas. This is an attempt to create a harmonious selection of colors on the palette even before a picture is started. A procedure like that not only requires a huge palette surface to contain the scheduled colors, but it also takes seemingly forever to mix them. It also fails for the same reason as above. Mixing colors on a palette is one thing, but exactly how they will look placed among the other colors in a complex painting is not predictable. As if that were not enough, the first colors mixed often dry out, or the model leaves to find a better job before the whole set is finished and a single brushstroke laid to canvas. 另一种极其乏味的方法（我见过很多次）涉及在将它们涂抹在画布上之前混合所有预期使用的颜色。这是为了在开始绘画之前在调色板上创造一种和谐的颜色选择。这样的程序不仅需要一个巨大的调色板表面来容纳预定的颜色，而且混合它们似乎需要很长时间。它也因为上述原因而失败。在调色板上混合颜色是一回事，但它们在复杂绘画中与其他颜色放在一起的效果却是不可预测的。仿佛这还不够，第一次混合的颜色经常会干燥，或者模特在整套颜色完成之前找到了更好的工作，甚至在画布上放下一笔之前就离开了。
Color systems have been around as long as there have been colors to paint with and light to see by. The dream of many is to find something like an equation, a simple procedure, perhaps a pattern, or at least a definable relationship which all situations of light and subject might share in common, and which could be methodized. The best they have come up with are various color selections which select one primary or secondary color, plus a few closely related neighboring colors, and reject the other colors in the spectrum. There are also the various color charts and wheels (dial-a-harmony gadgets) available at an art superstore or online. Alas, the search for El Dorado or the Holy Grail has better prospects for success. 色彩系统存在的时间与可以用来绘画的颜色和用来看的光一样长。许多人的梦想是找到类似方程、简单程序、或许是模式，或者至少是所有光线和主题可能共享的可定义关系，可以系统化的东西。他们提出的最好方案是各种颜色选择，选择一个主要或次要颜色，再加上几个密切相关的相邻颜色，并排斥光谱中的其他颜色。还有各种色彩图表和色轮（拨盘式和谐小工具）可以在艺术超市或在线购买。唉，对厄尔多拉多或圣杯的追寻更有成功的前景。
The problem with all of this well-meaning fuss is it simply doesn't work, at least not in painting from life. The reason it doesn't work is because replicating the harmony is not a simple matter of following a system. Harmony involves a complex interplay between the behavior of light and the experienced mind of the artist. It is a dance, if you will, like the tango-without rules, yet a beautiful counterpoint nevertheless. It is not a one-size-fits-all equation such as . It is an interaction in which the step-by-step judgment on the part of the painter is crucial. Like climbing a mountain, it has to be done one careful step at a time. It is a process by which we must compare each separate color, as we mix and apply it, to all others which have gone before it. The process is a constant and meticulous decision making activity that must take place one color at a time throughout the entire course of a painting. 所有这些善意的忙碌都存在问题，至少在现场写生绘画中是如此。它不起作用的原因是因为复制和谐并不是简单地遵循一个系统的问题。和谐涉及光线行为和艺术家经验丰富的心灵之间复杂的相互作用。这是一场舞蹈，就像探戈一样-没有规则，但仍然是一种美丽的对位。它不是一个适合所有人的方程式。这是一个互动过程，画家逐步判断至关重要。就像爬山一样，必须一步一个小心的步骤来完成。这是一个过程，我们必须将每种单独的颜色与之前的所有其他颜色进行比较，混合和应用。这个过程是一个持续而细致的决策活动，必须一次一个颜色地在整个绘画过程中进行。
The harmonies we need to produce in working from life do not arise from methods I have just described, or any others I know of. Systems promising this might produce a pleasant harmony, but it will not bring about THE harmony that truly matches the way you see your subject. No system or device (even the marvelous computer I am using to write this) can anticipate all the colors in advance that will be needed in a painting. (The computer can't do it because it can't be programmed to see as you or I see.) 我们在现场创作时需要产生的和谐并非来自我刚刚描述的方法，或者我所知道的任何其他方法。承诺能够产生这种和谐的系统可能会产生一种愉悦的和谐，但它不会带来真正与您看到主题方式相匹配的和谐。没有任何系统或设备（即使是我用来写作的神奇计算机）能够提前预测绘画中所需的所有颜色。（计算机无法做到这一点，因为它无法被编程成像您或我一样看待事物。）
There are many other harmony schemes, such as reduction systems involving questionable mathematical relationships of colors on the color wheel or the spectrum. The fun ones to argue about are various other quirky approaches embracing theories about the psychological or spiritual properties of color. My personal loony award goes to the harebrained notions about the mystical and occult nature of color. Believe me when I advise you to stay away from all of these notions. You don't need to paint when the moon is full, or have incense burning in your studio while mumbling incantations, or follow some guaranteed formula to have a valid color harmony happen. Rely on what you know you can depend upon. Put your trust in the plain simple know-how that comes from studying what happens when you mix your colors together. 有许多其他和谐方案，比如涉及色彩轮或光谱上颜色的可疑数学关系的减色系统。有趣的是，人们争论的还有各种古怪的方法，涉及有关颜色心理或精神属性的理论。我个人认为最荒谬的奖项应该颁发给那些关于颜色神秘和神秘本质的疯狂想法。相信我，当我建议你远离所有这些观念时。你不需要在月圆之夜绘画，或者在工作室里点燃香并喃喃念咒，或者遵循某种保证的配色公式来实现有效的色彩和谐。依靠你知道可以依赖的东西。相信那些来自研究当你混合颜色时会发生什么的简单明了的知识。
The Masters' grasp of color harmony resulted from their understanding of the same few basic principles of color behavior I have outlined in the more serious part of this discussion. These are sound observations about light and color because they are true and verifiable, and they can work for you. Think clearly and paint the colors you see as accurately as you possibly can. The result is bound to be harmonious. 大师们对色彩和谐的把握源自于他们对色彩行为的几个基本原则的理解，这些原则我在本讨论的更严肃部分中已经概述。这些是关于光线和色彩的明智观察，因为它们是真实和可验证的，它们可以为你所用。清晰地思考，尽可能准确地描绘你看到的颜色。结果必定是和谐的。
THE OTHER MEANING OF HARMONY 和谐的另一层含义
So far, I have been dealing with harmony defined as an order arising from qualities in light, but "harmony" also describes color arrangements we invent. We do this in our daily routines constantly, sometimes without even being aware we are doing it. Whether it is picking out the right tie to wear or gathering objects and backgrounds for a still life, we are to some extent seeking a combination of colors we find satisfying. More often than not, we have something specific in mind, other times we try this and that randomly until something clicks, but as long as we have choices, we will always be selective unless we flip a coin-and even deciding to do that is a deliberate choice. 到目前为止，我一直在处理被定义为光质所产生的秩序的和谐，但“和谐”也描述了我们创造的色彩搭配。我们在日常生活中不断地这样做，有时甚至没有意识到我们正在这样做。无论是挑选合适的领带还是收集物品和背景用于静物画，我们在某种程度上都在寻求一种令我们满意的色彩组合。往往我们心中有特定的想法，有时我们随意尝试这个那个直到某种搭配让我们满意，但只要我们有选择，我们总是会有所选择，除非我们抛硬币——即使做出这样的决定也是一个故意的选择。
We painters cannot afford a hit-or-miss method of selection because rendering a particular color arrangement is crucial to the effectiveness of our work. When we are choosing and arranging things for a picture, such as a still life, we have almost unlimited creative latitude. (As opposed to painting what nature offers, as in landscape painting, where certain requisites attend.) Therefore, I believe it is important for us to give ourselves as much freedom of choice as possible. 我们画家不能采用随意的选择方法，因为呈现特定的色彩搭配对我们作品的效果至关重要。当我们为一幅画选择和安排事物，比如静物，我们几乎有无限的创造自由。（与风景画中描绘自然所呈现的不同，那里有特定的要求。）因此，我认为给予自己尽可能多的选择自由是很重要的。
What does it all mean? Freedom to me is access to fresh choices, which means having the ability to disengage from external influences I allow to control me. What are those inhibiting influences? Mainly they are the traditional, well-established ideas about what "good" color combinations are, particularly the wonderful color achievements of the Masters. I'm not dismissing them, of course. Many of our artistic color preferences are deeply fixed in our minds precisely because we admire them so in the works of painters we wish to emulate. Studying the works of artists who are imaginative and skillful with color is a vital part of the learning process. Most of us go through this naturally, and it is a healthy thing. Eventually, however, a time comes when we must be imaginative and skillful in our own right. 这一切意味着什么？对我来说，自由意味着能够选择新鲜事物，这意味着有能力摆脱那些控制我的外部影响。那些抑制性的影响是什么？主要是关于“好”色彩组合的传统、成熟的观念，特别是大师们在色彩上取得的美妙成就。当然我并不是在否定它们。我们许多对艺术色彩的偏好之所以深深扎根于我们的思想中，正是因为我们如此钦佩那些我们希望效仿的画家作品中的色彩。研究那些富有想象力和色彩技巧的艺术家的作品是学习过程中至关重要的一部分。大多数人自然而然地经历这一过程，这是一件健康的事情。然而，最终会有一个时刻，我们必须自己具备想象力和色彩技巧。
I can't tell you exactly how to do that. No one can. It is bound up in the wonderful mystery of creativity itself. I can only advise two things. The first is to fall back on the old dictum, "Know thyself." Cultivate an awareness of your unique preferences, and consider color from the standpoint of how you want it to function in the context of what you intend to convey in your art (rather than how other people will judge it against a norm). 我无法准确告诉你如何做到这一点。没有人能。这是创造力本身美妙神秘的一部分。我只能给出两点建议。第一点是回归到古老的箴言，“知己”。培养对自己独特喜好的认识，并从你打算在艺术作品中传达的内容角度考虑颜色应该如何发挥作用（而不是别人如何根据一种标准来评判它）。
Second, there does exist a splendid and limitless source of inspiration. If you are looking for a truly authentic-sure fire-neverfail example of creating harmony, look to nature! Study her fascinating color patterns and use them as references when you are setting up a subject. Keep your eyes open for the color combinations in leaves and rocks and little bugs, and so on. Keep notes or start a file on the things that catch your eye. Nature is a marvelous kaleidoscope of ever-new chromatic delights. It is all there for all to use and enjoy. 其次，确实存在着一个辉煌而无限的灵感源泉。如果你正在寻找一个真正正宗、百试不爽的和永不失败的和谐创作的例子，那就看看大自然吧！研究她迷人的色彩图案，并将它们用作设置主题时的参考。留意叶子、岩石、小虫等的色彩组合。记下笔记或开始一个文件，记录下吸引你眼球的事物。大自然是一个奇妙的不断更新的色彩乐园。这一切都供所有人使用和享受。
"PURE COLOR" PAINTING “纯色”绘画
Who among us has not gazed lovingly at the brilliant colors on a palette and wished to use them just as they came from their tubes-pure and unsullied - instead of degraded by intermixing with themselves? Well, theoretically at least, any subject can be painted with pure unblended primary and secondary colors alone (plus white), without the deliberate use of any "grays" (tertiary colors-mixing red, yellow and blue together), and still look perfectly correct - not artificial or forced. That is, after all, how nature does it (mostly, however, on a microscopic level). Achieving this was the goal of some, but by no means all, of the French Impressionists. 我们中间谁没有曾经爱慕地凝视调色板上的绚丽色彩，并希望能够直接使用它们从管子里挤出来时的纯净无瑕，而不是被彼此混合所降低？至少在理论上，任何主题都可以仅使用纯净未混合的原色和次要色彩（加上白色），而不需要故意使用任何“灰色”（三次色-混合红色、黄色和蓝色），仍然看起来完全正确-不人为或勉强。换句话说，这就是自然的做法（大多数情况下，是在微观层面上）。这是一些法国印象派画家的目标，但绝不是所有人的目标。
To produce their striking color effects, many of them employed the now familiar technique of applying small bits of pigment laid side by side on the canvas as what we call today broken color. The idea was, and still is, to let the eye of the observer blend them to form new colors. A painting must be viewed from a certain minimum distance for it to happen (about six to eight feet). Monet, Manet, Sisley, Pissarro (and many others, including painters elsewhere in Europe, North America, and Australia) brought the broken color method to a high level of sophistication. Many still equate Impressionism with originating broken color painting in the mid 1800s. However, those techniques were already emerging as far back as Velázquez and Hals-two centuries before the French Impressionists. 为了产生引人注目的色彩效果，许多画家采用了现在熟悉的技巧，即在画布上并排放置小颗粒的颜料，我们今天称之为破碎色彩。这个想法是，而且仍然是，让观察者的眼睛将它们混合在一起形成新的颜色。必须从一定的最小距离观看绘画才能发生这种情况（大约六到八英尺）。莫奈、马奈、西斯莱、皮萨罗（以及许多其他画家，包括欧洲其他地方、北美和澳大利亚的画家）将破碎色彩的方法推向了高度的复杂化。许多人仍然将印象派与 19 世纪中叶起源的破碎色彩绘画等同起来。然而，这些技术早在韦拉斯奎兹和哈尔斯之前的两个世纪就已经开始出现。
Regardless of who invented broken color, no one has yet been entirely successful in attaining a completely natural looking result with it. By this I mean impressionistic broken color paintings are (by definition) departures from the way most humans see the world. If you or I actually saw things entirely as discrete patches of exaggerated color, it would indicate some form of visual impairment. We do not normally see colors that way; we see them as already blended, which is why broken color painting has been described as "nothing up close, but everything from a distance." We normally see green as green, not yellow and blue. (We must be trained to see it separated this way.) I do not suggest any criticism here of the Impressionists' efforts, but I do mean to point out certain aspects inherent in any broken color technique. In any case, I love it and use it a lot. 无论是谁发明了破碎色彩，至今还没有人能完全成功地实现看起来完全自然的效果。我的意思是，印象派的破碎色彩绘画（根据定义）是对大多数人看世界的方式的偏离。如果你或我实际上完全看到事物是夸张色彩的离散块，那将表明某种形式的视觉障碍。我们通常不会以那种方式看颜色；我们看到它们已经混合在一起，这就是为什么破碎色彩绘画被描述为“近看什么都没有，但远看什么都有”。我们通常将绿色看作绿色，而不是黄色和蓝色。（我们必须接受训练才能以这种方式分开看待。）我并不是在这里对印象派的努力提出任何批评，但我确实想指出任何破碎色彩技术中固有的某些方面。无论如何，我喜欢它并经常使用它。
In practice, a successful representational painting done strictly in pure spectrum colors (plus white) is extremely demanding. In my experience it is by far the most difficult of all methods of painting because of the very high level of control which must be maintained. In the attempt, there are inevitable problems with the other visual elements that make things look real to us, particularly edges, values, and usually drawing. 在实践中，严格使用纯光谱颜色（加白色）完成成功的具象绘画是极具挑战性的。根据我的经验，这是所有绘画方法中最困难的，因为必须保持非常高的控制水平。在尝试中，不可避免地会出现其他视觉元素的问题，使事物看起来真实，特别是边缘、色调和通常是绘画。
THE COMPROMISE 妥协
In a pure broken color application, the opportunity for virtuoso brushwork is often unavoidably sacrificed. So too, subtle and accurate drawing is sometimes surrendered. In the need to be more colorful, and therefore lighter, the full range of values also suffers. (Impressionistic paintings often tend to be "high-key" renderings.) This value deficit is clearly seen in many broken color works when they are reproduced in black and white. 在纯粹的破碎色应用中，经常不可避免地牺牲了大师级的笔触技巧的机会。同样，微妙而准确的绘画有时也被放弃了。为了更加丰富多彩，因此更轻盈，整个价值范围也会受到影响。（印象派绘画往往倾向于“高调”呈现。）当许多破碎色作品以黑白形式再现时，这种价值赤字显而易见。
Even where there is no intention to bother with drawing, value, or edges (as in Monet's later works), the results are rarely, if ever, pure color paintings. Nearly all impressionistic painters eventually resort to grays to get their final effects, or grays appear in the blending that occurs (intentionally or otherwise) in the normal course of painting. Again, please do not take these comments as any disapproval of Impressionism. Any serious effort toward brilliant color is more than worthwhile, and altering values or colors to produce special effects of light or mood is one of our most cherished techniques. It would be sad not to pursue color to its fullest. 即使没有意图去烦恼素描、价值或边缘（如莫奈晚期的作品），结果很少是纯粹的彩色画。几乎所有印象派画家最终都会使用灰色来达到最终效果，或者灰色会出现在绘画过程中（无论是有意还是无意）的混合中。再次强调，请不要将这些评论视为对印象主义的不赞成。任何朝着辉煌色彩的努力都是值得的，改变价值或颜色以产生光线或情绪的特殊效果是我们最珍视的技术之一。不追求色彩的最大可能性将是令人遗憾的。
The point is this-when I "push" my color and change values, I am then outside the bounds of the way things "ordinarily" appear. This means that I am in an area where the only reference (or criterion) I have is whether I like the way the painting looks. I can no longer compare it to the subject for correctness since I have deliberately departed from the natural appearance of the subject. In such a case I must be very careful because it is all too easy to lose control and spill over into flamboyantly impossible color and ineffective value relationships. 这一点在于，当我“推动”我的颜色并改变价值时，我就超出了事物“通常”出现的界限。这意味着我处于一个唯一参照的领域（或标准），即我是否喜欢绘画的外观。我不能再将其与主题进行正确性比较，因为我已经故意偏离了主题的自然外观。在这种情况下，我必须非常小心，因为很容易失去控制，溢出到花哨不可能的颜色和无效的价值关系中。
LILIES AND LEMONS oil on canvas, 百合和柠檬 油画
MY CHOICE 我的选择
Simply making every color I put down as purely (unmixed) as possible does not automatically produce a splendid result. When all colors in a painting are equally pure and brilliant, the effect can often be less colorful than when one or two colors predominate as pure colors. I have come to realize Mother Nature, though she starts with pure color at the most elemental level, nevertheless reaches us as complex frequencies which are usually best represented as pigment mixtures. 简单地让我放下的每一种颜色尽可能纯净（未混合）并不会自动产生出色的结果。当一幅画中的所有颜色都同样纯净和明亮时，效果往往会比起一两种主导的纯色更少色彩。我意识到大自然，尽管她从最基本的层面开始是纯净的颜色，但最终以通常最好表示为颜料混合的复杂频率传达给我们。
My usual personal preference, and you may regard this as my opinion, not necessarily advice, is to try to use the complete range of pictorial elements if I can, unless there is a good reason (such as artistic choice) not to. I prefer a painting that is fascinating in all respects - drawing, edges, and values, as well as color. To achieve this, some compromise with color is usually necessary. 我通常的个人偏好，你可以把这看作是我的观点，而不一定是建议，是尽量尝试使用完整的图像元素，除非有充分的理由（比如艺术选择）不这样做。我更喜欢一幅在各个方面都迷人的画作 - 包括素描、边缘、价值以及色彩。为了实现这一点，通常需要在色彩上做一些妥协。
For example, to get the deep values I want, I must accept some sacrifice of brilliant color in the darks. I can't have both at the same time - dark color and vivid color together - that is an inherent limitation of paint. I find very deep dark accents, however lacking in identifiable color (but which have a strong temperature), tend to magnify the richness of middle-tone colors, as well as the delicacy of high-keyed colors. 例如，为了获得我想要的深度价值，我必须接受在暗部牺牲一些鲜艳色彩。我不能同时拥有深色和鲜艳色彩 - 这是颜料的固有限制。然而，我发现非常深的暗调，虽然缺乏可识别的颜色（但具有强烈的温度），往往会放大中间色彩的丰富度，以及高调色彩的精致之处。
There is no question about the power of grays to enhance the more pure colors-that is why a single neon sign stands out when seen alone apart from other lights, and why it does not stand apart when everything is neon. In the end, of course, what matters is how well your color serves your artistic intentions. 没有疑问，灰色的力量可以增强更纯净的颜色-这就是为什么单独看时，一个霓虹灯标志会脱颖而出，而当一切都是霓虹灯时，它就不再突出。当然，最重要的是你的颜色如何能够服务于你的艺术意图。
Lest I sound as if I'm throwing cold water on pure color painting, when it works it is glorious! Walking through an exhibition of virtuoso Impressionistic painting is like walking in sunshine. The attempt to keep color clean and strong is worth every effort. Even when a pure color painting falls short of its goal or sinks into improbable tonality, it is at least more fun to look at than a work safely rendered in dull browns and grays. 免得我听起来像是在泼冷水在纯色绘画上，当它成功时，它是辉煌的！走进一场技艺高超的印象派绘画展览就像在阳光中行走。努力保持色彩干净而强烈是值得的。即使一幅纯色绘画未能达到其目标或陷入不太可能的色调中，至少它比那些安全地呈现在沉闷的棕色和灰色中的作品更有趣看。
SOME NICE EXTRAS 一些不错的额外福利
It is possible to enhance the appearance of paint mixtures by avoiding the habit of overmixing. Colors mixed too thoroughly lack the brilliance of more loosely blended paint. When tiny pigment particles are slightly separated, individual brushstrokes take on a scintillation similar to impressionistic broken color painting, which is why it is a good idea to clean your palette often and mix fresh piles of paint frequently. Rinse your brush well between all strokes, and try not to go over them except to modify their edges. 通过避免过度混合的习惯，可以增强油漆混合物的外观。混合得太彻底的颜色缺乏更松散混合的油漆所具有的光彩。当微小的颜料颗粒稍微分开时，个别的笔触会呈现出类似印象派破碎色彩绘画的闪烁效果，这就是为什么经常清洁调色板并频繁混合新的油漆堆是个好主意。在每一笔之间要彻底清洗刷子，并尽量不要重复涂抹，除非是为了修改它们的边缘。
Mixing paint directly on the canvas instead of the palette is another way to achieve a casually mixed color effect. It isn't always possible, particularly where drawing is critical, but it can be done successfully in larger areas. In landscape painting, I often paint broad sections, such as the sky, with a single layer of white and then apply other mixtures into it right on the canvas. 直接在画布上混合颜料，而不是在调色板上混合，是实现随意混合色彩效果的另一种方式。这并不总是可能的，特别是在需要关键绘制的情况下，但在较大的区域可以成功地完成。在风景画中，我经常用一层白色涂抹广泛的部分，比如天空，然后直接在画布上涂抹其他混合物。
Making use of the transparency of paint can also add immeasurably to the surface luster of a picture. I prefer to apply all of my darks very thinly when I can, particularly when those darks occur as shadow areas in the subject. Pigments used transparently have an optical quality quite different from their opaque state. When they are employed together- transparently in darks, heavily opaque in the light areas - the three-dimensional effect is magnified. Applying darks thinly also eliminates the annoying glare of brushmarks in areas which ought to remain quiet. I hasten to add that applying darks does not necessarily mean thinning them with medium. Very thin applications can also be made by scumbling the paint on without the use of a medium. 利用颜料的透明性也可以极大地增加图片的表面光泽。我更喜欢在可能的情况下将所有的暗色涂得非常薄，特别是当这些暗色出现在主题的阴影区域时。透明地使用颜料具有一种与它们不透明状态完全不同的光学品质。当它们一起使用时 - 在暗色中透明，在光亮区域中浓重不透明 - 三维效果会被放大。将暗色涂得薄也可以消除那些应该保持安静的区域中刷痕的刺眼光芒。我急于补充说明，涂抹暗色并不一定意味着用介质稀释它们。也可以通过在不使用介质的情况下将颜料涂抹上去来进行非常薄的涂抹。
If you really wish to get fancy, and you are working alla prima (wet-into-wet), try brushing transparent paint on top of opaque paint. There is only allowance for one slow swipe of the brush, which means no room for corrections, but the resulting color will be similar to the gleam of opal or mother-of-pearl. You might also try placing more than one color on your brush or palette knife, then make your stroke - carefully. These are both one-shot hit-or-miss artifices and the odds are not good you will succeed on the first attempt, but they are definitely impressive when they work. One caution, however, do not get too involved in such flourishes until you first master the basics of simply matching colors. Tricks are fun but they are not a substitute for professional skill. 如果你真的想要变得花哨，而且你是在湿法（湿入湿）工作，尝试在不透明颜料上刷上透明颜料。只允许刷子慢慢一划，这意味着没有纠正的余地，但结果的颜色会类似于蛋白石或珍珠的闪光。你也可以尝试在刷子或调色刀上放置多种颜色，然后进行笔触 - 小心翼翼地。这两种都是一击即中或一击即失的技巧，第一次尝试成功的几率不高，但当它们成功时确实令人印象深刻。然而，要注意的是，在你掌握简单匹配颜色的基础之前，不要过于沉迷于这些花哨的技巧。技巧很有趣，但它们不能替代专业技能。
RICHARD'S FLIGHT oil on canvas, 19 x 25, Salmagundi Club Demonstration, New York, 2010 理查德的飞行 油画，19 x 25，萨尔马贡迪俱乐部示范，纽约，2010
To see the dramatic effect light has on color harmony, compare the colors I used in the painting above, which was done under cool lighting, to the next painting of oranges on page 251, which was painted under a hot floodlight. The objects are nearly identical but what a difference!! 要看到光线对色彩和谐的戏剧性影响，比较一下我在上面的画中使用的颜色，那是在凉爽的灯光下完成的，与第 251 页上橙色画作中使用的颜色进行比较，那是在炽热的洪灯下完成的。这两幅画的物体几乎相同，但效果却大不相同！
This doesn't come under the heading of fancy tricks, but one of the best pieces of advice I can give is to keep your palette clean and orderly. When I see students struggling with badly colored paintings, invariably their palettes and brushes are just as messy. Lay your colors out in a sensible order, and with generous amounts of paint. Have one or more large containers of mineral spirits or turpentine near so you can keep your brushes clean as you work. Whatever technical stumbling blocks you might have with color, don't make things more difficult by not having something as easy to acquire as good working habits. 这并不属于花哨技巧的范畴，但我能给出的最好建议之一是保持调色板的清洁和有序。当我看到学生们在艰难地涂色时，他们的调色板和画笔总是一团糟。把颜色按照合理的顺序摆放，并使用足量的颜料。在附近放置一个或多个大容器的矿物油或松节油，这样你就可以在工作时保持画笔清洁。无论你在颜色方面遇到了什么技术障碍，不要因为没有像良好的工作习惯这样容易获得的东西而使事情变得更加困难。
SUMMING UP 总结
Color is one of our more powerful tools, but its richly complex and relativistic nature makes it difficult to understand and use. 颜色是我们更强大的工具之一，但其丰富复杂且相对性强的特性使其难以理解和运用。
The colors of things look the way they do because of the light on them, the influence of surrounding colors, and their local pigmentation. 事物的颜色看起来是因为照在它们上面的光线、周围颜色的影响以及它们本身的色素。
A color changes its appearance when either the light changes or its adjacent colors change. 当光线改变或相邻颜色改变时，一种颜色会改变其外观。
The limitations of paint prevent us from duplicating the actual brilliance in nature. 油漆的局限性阻止了我们复制自然中真正的光彩。
Factors such as our emotional responses to color, our preconceived notions, and misinformation about it, interfere with our objective perception of color. 诸如我们对颜色的情感反应、我们的先入之见以及对其的错误信息等因素干扰了我们对颜色的客观感知。
In spite of its complexity, color can be understood rationally and used effectively. Three things are necessary to do this. First, identify the color you are seeing; second, mix it correctly (so it matches what you have seen); and third, put it in the right place on your painting. 尽管色彩复杂，但可以理性地理解并有效地使用。要做到这一点，有三件事是必要的。首先，识别你所看到的颜色；其次，正确混合颜色（使其与你所看到的相匹配）；第三，在绘画中将其放在正确的位置。
The pigments we use to paint with act by reflecting light. Therefore, we cannot match the brightness of certain things in nature (particularly light sources). To compensate for this we can only paint the relative brightness of light sources compared to other things in the visual field. This usually requires rendering a light source in the subject as the lightest light in a picture. 我们用来绘画的颜料是通过反射光线起作用的。因此，我们无法与自然界中某些物体（尤其是光源）的亮度相匹配。为了弥补这一点，我们只能绘制视野中光源相对亮度与其他物体的对比。通常需要将主体中的光源呈现为图片中最亮的光。
White paint is technically the coolest pigment; therefore, when we add white to any mixture, the resulting color is cooler. 白色颜料在技术上是最凉爽的颜料；因此，当我们向任何混合物中添加白色时，得到的颜色会更凉爽。
Understanding the phenomenon of color temperature is the key to controlling color. All colors manifest a changeable property called temperature. Colors in a painting appear either warmer or cooler (or hotter or colder) depending upon the temperatures of their adjacent colors. The apparent temperature of any pigment color or pigment mixture changes when lightened or darkened, when any other pigment is introduced into the color or color mixture, or when surrounding colors on a painting are altered. The apparent temperature of any color in a subject likewise shifts when the light on it changes or when bordering colors change (as when you alter the background in your subject, or clouds shift in the landscape). 理解色温现象是控制颜色的关键。所有颜色都表现出一种可变的属性，称为温度。绘画中的颜色看起来要么更温暖，要么更凉爽（或更热或更冷），这取决于相邻颜色的温度。任何颜料颜色或颜料混合物的表观温度在变浅或变深时会改变，当其他颜料被引入颜色或颜色混合物时会改变，或者当绘画中的周围颜色发生变化时会改变。主题中任何颜色的表观温度也会随着照明的变化或边界颜色的变化而改变（例如，当您改变主题的背景或风景中的云彩移动时）。
When you work, try to have the same light on your subject, your palette, and your painting. 当你作画时，尽量让主题、调色板和画作都处于同样的光线下。
The temperature (or color) of the ambient light is the single most powerful factor in causing the colors on a subject to look the way they do. You can determine the temperature by comparing the light on a subject to its shadows. Warm light produces cool shadows, and cool light yields warm shadows. 环境光的温度（或颜色）是导致主体颜色呈现特定样貌的最重要因素。您可以通过比较主体上的光与其阴影来确定温度。温暖的光会产生凉爽的阴影，而凉爽的光则会产生温暖的阴影。
I recommend doing a series of color charts (as previously described) to understand the capabilities and qualities of your pigments. Doing the charts will also teach you to identify colors in your subject and accurately mix the color you see with the least amount of trial and error. It is also a good idea to make a color chart whenever you introduce a new pigment on your palette. 我建议做一系列的色彩图表（如前所述），以了解你的颜料的能力和特性。做这些图表还会教会你识别主题中的颜色，并准确地混合你看到的颜色，减少试错的次数。每当你在调色板上引入新的颜料时，制作一张色彩图表也是个好主意。
DELFT BOWL AND ORANGES oil on canvas, , Master's Demonstration, Laguna Beach, 2010 DELFT 碗和橙子 油彩 画布 大师示范 拉古纳海滩 2010
Keep your palette simple. Have the fewest colors necessary for the way you paint. I also recommend keeping your palette orderly. Lay the colors out in a logical sequence and in sufficient quantity. Don't be stingy with your paint, and try to keep the piles clean (dip into them with a clean brush or knife). Remember Richard's Law of Creeping Color-What is on your palette will probably end up on your canvas. See that you clean your mixing surface frequently to avoid dirty mixtures. Have plenty of rags or highly absorbent paper towels on hand and use them lavishly. 保持你的调色板简单。使用你绘画所需的最少颜色。我还建议保持你的调色板井然有序。按照逻辑顺序摆放颜色，并保证数量充足。不要吝啬颜料，尽量保持颜料堆干净（用干净的刷子或刀蘸取）。记住理查德的渐变色规律——你调色板上的颜色很可能最终出现在你的画布上。确保经常清洁混合表面，避免脏混合。准备充足的抹布或高吸水性纸巾，并慷慨地使用它们。
Color harmony as it should concern painters is not simply a pleasing selection of colors. In painting from life, oddly theoretical systems of color mixing or predetermined color schemes cannot produce an authentic version of the harmony in a subject. Why? Because you cannot predict all the colors you will need in a painting. No system can take into account the factor of you as the perceiver of your subject. 作为画家应该关心的色彩和谐并不仅仅是一种令人愉悦的颜色选择。在写生绘画中，奇特的色彩混合理论系统或预先确定的色彩方案无法产生主题和谐的真实版本。为什么？因为你无法预测绘画中需要的所有颜色。没有任何系统能考虑到你作为主题感知者的因素。
The main source of color harmony is the light on a subject. 色彩和谐的主要来源是主体上的光线。
The light on your subject rarely has equal amounts of colors in its spectrum-which means your light will be weighted toward blue, or orange, or some other color. That, in turn, means some other color or colors in the spectrum are going to be either absent or diminished. If the light is strongly blue, for example, it follows that red and yellow in their purest form will be proportionally minimized. These absent or diminished colors need only be restrained, not eliminated entirely from your color mixtures, to duplicate the harmony in the subject. (This, by the way, is not a scheme or system. It is merely a description of how light works and how to cooperate with it.) 主体上的光很少在其光谱中具有相等数量的颜色-这意味着您的光将偏向蓝色、橙色或其他某种颜色。反过来，这意味着光谱中的其他颜色将要么缺失，要么减少。例如，如果光是明显的蓝色，那么纯粹的红色和黄色将会被相应地最小化。这些缺失或减少的颜色只需受到限制，而不必从您的颜色混合物中完全消除，以复制主体中的和谐。 （顺便说一句，这不是一个方案或系统。这只是对光如何运作以及如何与之合作的描述。）
Light of a single strong color presents a relatively easy problem in achieving a harmony. Having the same success with more evenly balanced light takes somewhat more care and considerable experience, but the principle is the same. 单一强烈颜色的光线在实现和谐方面相对较容易。要在更均衡的光线下取得同样的成功需要更多的细心和丰富的经验，但原则是相同的。
Pure color painting requires the highest degree of control because it involves changing (usually exaggerating) the colors you see. Greens, for example, are often broken into their constituent yellows and blues, violets into bits of blue and red, and so on. Values as well are changed, typically a tightening of the darks to make their color more brilliant. The risk in all of this is that the process can so easily slip over into gaudy superficiality. It's worth the risk, however, and if it doesn't work, you can always start over. 纯色绘画需要最高程度的控制，因为它涉及改变（通常是夸大）你所看到的颜色。例如，绿色经常被分解为其构成的黄色和蓝色，紫罗兰色被分解为蓝色和红色的部分，依此类推。价值观也会发生变化，通常是加强暗部以使它们的颜色更加鲜艳。所有这一切的风险在于这个过程很容易滑入俗气的肤浅。然而，这个风险是值得的，如果不起作用，你总是可以重新开始。
Stay away from crackpot, short-cut-sure-fire schemes to obtain "good" color. Stick to the wise old-fashioned method of understanding your paints and developing a sharp eye for color. Learn from the Masters - it's all there in their paintings. Do your own dance. 远离那些不切实际、捷径保证的方案来获得“好”的颜色。坚持明智的老式方法，了解你的颜料并培养对颜色的敏锐感。向大师学习 - 他们的画作中都有答案。做你自己的舞蹈。
BON APPETIT! 美味佳肴！
So ends our discussion about this thing called color-this magnificent, often vexing, yet always breathtaking, gift to our senses. Give it your patience, your devotion, and never stop trying to make it shine in your paintings. Treat it as your secret loved one, and it will shower your efforts with more beauty than you can imagine. 这就是我们关于这个被称为颜色的事物的讨论的结束 - 这个宏伟的、常常令人困扰但总是令人叹为观止的，赋予我们感官的礼物。给予它你的耐心、你的奉献，并且永远不要停止努力让它在你的画作中闪耀。把它当作你的秘密爱人，它将用比你想象中更多的美丽来滋润你的努力。
BLUE CUP AND PANSIES oil on canvas, 蓝色茶杯和三色紫罗兰 油画，
CHAPTER TEN—COMPOSITION 第十章—构图
The instant you make a mark on a surface such as a canvas or piece of paper, you create a COMPOSITION. If you place your mark at dead center, the effect is symmetrical. If you put it anywhere else, it is not. That is called asymmetrical. If you do it with calculated thought, it is called designing. It's boring stuff when put like that, but upon this simple stuff rests the vast body of theory and canons of composition. Except for Abstraction, nothing in painting is more controversial or difficult to define than composition. We all think we recognize a good one when we see it (or create one ourselves), but we do not always agree with others about their choices, or even what constitutes a good composition. One that gives you thrilling goose bumps might bore me, and vice versa. 当您在画布或纸张等表面上做出标记的瞬间，您就创造了一种构图。如果您将标记放在正中央，效果是对称的。如果您将其放在其他任何地方，那就是不对称的。这就是所谓的不对称。如果您经过深思熟虑地做，那就是设计。就像这样说起来很无聊，但是在这简单的东西之上，却承载着广泛的构图理论和规范。除了抽象之外，绘画中没有什么比构图更具争议性或更难定义的了。我们都认为当我们看到一个好的构图时（或者自己创作一个时），我们会认出来，但我们并不总是同意别人的选择，甚至不一定认为什么构成了一个好的构图。让您激动得起鸡皮疙瘩的构图可能会让我感到无聊，反之亦然。
To make matters worse, we are given theories and rules about composition (many of them contradictory) and then told to forget the rules and "do your own thing." This is what I will be saying as well in this chapter, because designing from my personal viewpoint is the only way I know how to make a composition satisfying to me. 更糟糕的是，我们被给予关于构图的理论和规则（其中许多是矛盾的），然后被告知忘记规则，"做你自己的事情"。这也是我在本章中要说的，因为从我的个人观点出发设计是我知道如何让构图对我满意的唯一方式。
I want to emphasize: there is a big however regarding the doing of my own thing. In my case I first had to study the various classical elements of design and the ideas behind them in order to learn what was already known, or at least what thoughts about composition and design accomplished artists have given us either through their works or by teaching. Most of what I learned occurred in the years after art school. (There I was more concerned about learning to paint well.) My lengthy wanderings through the study and pedagogy of composition was an amazing experience, one which continues to this day. In the remainder of this chapter, I present that journey and my thoughts about what I learned. I also present images by other artists of some of their compositions that influenced my development. 我想强调一点：关于做自己的事情，有一个很大的但是。在我的情况下，我首先必须学习各种经典设计元素及其背后的理念，以便了解已知的内容，或者至少了解关于构图和设计的想法，这些想法是经验丰富的艺术家通过他们的作品或教学传授给我们的。我学到的大部分知识都是在艺术学校毕业后的几年里学到的。（那时我更关心学会画得好。）我在构图研究和教学中的漫长征途是一次令人惊叹的经历，这一经历至今仍在继续。在本章的其余部分，我将展示这段旅程以及我对所学内容的思考。我还会展示其他艺术家的一些作品图像，这些作品影响了我的发展。
WHAT IT'S ALL ABOUT 这一切是关于什么
In this discussion I do not deal with composition and design in a general way, rather I present it mostly as it applies to painting from life. Remember this as you read because there is a big difference. Design in the pure sense starts with nothing, and creates something. Typically, an artist begins with a blank drawing or painting surface (the tabula rasa), and then makes marks of some sort, or applies paint upon the surface with the hope of getting someone's attention and perhaps conveying something of interest to them. It is quite another story in painting from life. Our creativity usually begins with what already exists, such as a landscape or a person, any subject sparking an idea. We then choose aspects, or viewpoints, of our selected subject, or we arrange elements from it to make our pictures (as in a still life). 在这个讨论中，我不是以一般的方式处理构图和设计，而是主要将其呈现为适用于写生绘画的方式。阅读时请记住这一点，因为这是有很大区别的。在纯粹意义上，设计是从无到有，创造出某物。通常，艺术家从一张空白的绘图或绘画表面（空白状态）开始，然后以某种方式做出标记，或者涂抹颜料在表面上，希望引起某人的注意，并可能传达一些有趣的内容。在写生绘画中则完全不同。我们的创造力通常始于已经存在的事物，比如风景或人物，任何激发灵感的主题。然后我们选择所选主题的方面或视角，或者我们从中安排元素来制作我们的图片（如静物画）。
In working from life, our creativity lies in the fact we are (I trust) highly selective in our choices of what to paint. Unlike the person who takes snapshots simply to record something, we painters scan what is before us for its design possibilities. We look for a view that will employ the visual elements in a scene in such a way as to enhance the thing we are interested in depicting. If we are arranging things to paint (as in setting up a still life or a model), we select our subject matter and viewpoint in the same way. Sometimes it is easy, sometimes not. Often a subject bears a design so obvious and compelling we can't go wrong. Other times we agonize over how to paint something interestingly. 在现场创作中，我们的创造力在于我们（我相信）在选择绘画对象时非常有选择性。与仅仅为了记录某事而拍摄快照的人不同，我们画家会扫描眼前的事物，寻找其设计可能性。我们寻找一个视角，以在场景中运用视觉元素的方式来增强我们感兴趣的描绘对象。如果我们在安排绘画对象（比如布置静物或模特）时，我们也会以同样的方式选择我们的主题和视角。有时候很容易，有时候不是。有时候一个主题具有如此明显和引人注目的设计，我们无法出错。而有时我们会苦恼于如何有趣地绘画某物。
WHY COMPOSITION DRIVES US NUTS 为什么构图让我们发疯
You wouldn't think the simple act of arranging shapes in a picture could be in any way confusing or challenging, but it is. We have all felt that strain at one time or another. Often, instead of just doing what pleases us, we get sidetracked. We tend to be particularly hard on ourselves by scrutinizing our painting for "correct" composition. We worry about whether it "balances," or if it has "unity," or "movement." We ponder such notions as negative space, aesthetic centers, lines of direction, dynamic spatial relationships, connecting patterns, dominant shapes, focal points, rhythm, emphasis, convergence, divergence, and on and on. 你可能不会认为在图片中排列形状的简单行为会有任何困惑或挑战，但事实却是如此。我们都曾在某个时候感受到过这种压力。通常，我们不仅仅是做自己喜欢的事情，而是走了岔路。我们往往会对自己很苛刻，审视我们的画作是否具有“正确”的构图。我们担心它是否“平衡”，或者是否具有“统一性”，或者“动态”。我们思考诸如负空间、美学中心、方向线、动态空间关系、连接图案、主导形状、焦点、节奏、重点、收敛、分歧等概念，不胜枚举。
ANTIQUE MIRROR oil on canvas, 古董镜油画，
You will note such words and phrases represent ideas, whereas an actual composition is made up of tangible pigment on a physical surface. Abstractions (as I am fond of pointing out) are tricky to define, and I think it would be wiser to be more specific when we get down to the business of translating something like "balance" into real paint as it comes off the end of a brush. Unfortunately, however, the words we commonly use in talking about composition are so unclear they could mean almost anything. 您会注意到这些词语和短语代表 的概念，而实际的作品是由有形的颜料构成在物理表面上。抽象概念（正如我喜欢指出的）很难定义，我认为当我们开始将诸如“平衡”之类的东西翻译成刷子末端所呈现的真实颜料时，更具体地表达会更明智。然而，不幸的是，我们通常用来谈论构图的词语含糊不清，几乎可以解释成任何意思。
"Balance" could require sticking everything together in the middle of a painting, or scattering things about more or less evenly, or perhaps two skinny bananas on one side of a painting, and a big fat monkey on the other side like kids on a teeter-totter. The same could be said of "unity." As for "movement," as far as I know, once you put paint on a canvas, it just stays there very still. Other notions-the relationship of masses, positive and negative space, rhythm, pattern theories - they too are extraordinarily difficult to pin down. “平衡”可能需要将所有东西粘在绘画的中间，或者将事物分散得更加均匀，或者在绘画的一侧放两根细长的香蕉，另一侧放一只又大又胖的猴子，就像孩子们在跷跷板上一样。同样可以说“统一”也是如此。至于“运动”，据我所知，一旦你在画布上涂上颜料，它就会静静地停在那里。其他概念-物体的关系、正负空间、节奏、图案理论-它们也同样难以捉摸。
There are plenty of questionable do's and don'ts as well-don't cut your picture in half, have three or five things instead of two, don't have everything equal, do overlap shapes, don't have lines leading out of a picture, and lots more. All are familiar rules, yet all have been deliberately ignored by imaginative painters without compromising their designs. The truth is we are delighted when the rules are violated in ingenious ways. We love it when someone does something outrageous, and it turns out to be the most simple and direct solution (in the same way we are thrilled by a perfect crime when no one gets hurt and the insurance company pays). 有很多值得质疑的做和不做的事情，比如不要把图片切成两半， 要有三个或五个事物而不是两个，不要让一切都相等，要重叠形状，不要让线条引出图片，等等。所有这些都是熟悉的规则，然而所有这些规则都曾被富有想象力的画家故意忽略，而不会影响他们的设计。事实是，当规则以巧妙的方式被违反时，我们感到高兴。当有人做出令人震惊的事情，结果却是最简单直接的解决方案时，我们喜欢这种情况（就像当没有人受伤而保险公司支付时，我们对完美犯罪感到兴奋）。
Some believe mathematical relationships underlie good design. The ancient Greeks loved it; so did the gentlemen of the Italian Renaissance. They chose the placement of focal points, even the proportions of their canvases, according to ratios such as those in Euclid's Golden Mean or other related formats. Another optimistic system called Dynamic Symmetry, based on the geometric distributions on life forms such as plant leaves and sea shells, was also popular for a time, and is even having a revival of sorts today. Commercial artists have a scheme for finding "aesthetic centers" by segmenting their picture with five horizontal and five vertical lines, then choosing a point where any second or third line intersects. Then there is the blindfold approach - drawing random lines, trusting in chaos theory or a guardian angel I guess to produce a result. All such systems are a substitute for thinking, and in any case cannot be applied rationally to painting from life. 有人认为数学关系是良好设计的基础。古希腊人喜欢它；意大利文艺复兴时期的绅士们也是如此。他们根据欧几里得的黄金比例或其他相关比例，选择焦点的位置，甚至画布的比例。另一个乐观的系统称为动态对称，基于生命形式如植物叶片和海贝壳上的几何分布，曾经很受欢迎，甚至在今天也有一种复兴。商业艺术家有一种通过用五条水平线和五条垂直线分割画面来找到“美学中心”的方案，然后选择任何第二或第三条线相交的点。还有一种盲目的方法——随机画线，相信混沌理论或我猜是守护天使会产生结果。所有这些系统都是思维的替代品，无论如何都不能理性地应用于写生绘画。
In the end, most of us concede our instinct (for lack of a better word) takes over as a final determination. We describe a good composition as simply one that "works," or "feels right," or it does what we want it to. Beyond that, it is hard to be more specificbut read on Dear Friend, this gets even more interesting. 最后，我们大多数人都会承认我们的直觉（用缺乏更好词汇的话来说）会在最终决定时发挥作用。我们将一个好的构图描述为简单地“有效”，或者“感觉正确”，或者它做我们想要的事情。除此之外，要更具体就比较困难了，但请继续阅读，亲爱的朋友，这将变得更加有趣。
CLEARING UP THE CONFUSION 澄清混乱
I don't mean to be overly picky about the teachings or language of composition, and I certainly don't wish to suggest they are not in some way useful. After all something about certain arrangements touches us-so much so that we study them intently to see how they were done. For centuries great paintings have been analyzed for their structures and patterns - we cannot rest with the idea that great artists simply have a knack for putting things together. We want to know what the "knack" is, if they have perhaps tapped into some mystical or fundamental law of design, or if they have some insight in which we might share. 我并不是要对教学或构图语言过于挑剔，当然也不是要暗示它们在某种程度上没有用处。毕竟，某些布局方式会触动我们的某种感觉，以至于我们会专心研究它们是如何完成的。几个世纪以来，人们一直在分析伟大的绘画作品的结构和图案 - 我们不能仅仅满足于伟大艺术家仅仅擅长将事物组合在一起的想法。我们想要知道这种“擅长”是什么，他们是否可能触及了某种神秘或基本的设计法则，或者他们是否有一些我们可以分享的见解。
There is no question in my mind they had insights, but please believe me, no one yet has found a universal principle, or fundamental law, or natural formula for good composition. And you can bet your grandmother's teeth it won't be discovered next week or in your lifetime. 在我看来，他们确实有洞察力，但请相信我，至今还没有人发现一种通用原则、基本法则或好构图的自然公式。你可以打赌你祖母的牙齿，这种公式不会在下周或你的一生中被发现。
CHICKEN oil on panel, 鸡油在画板上，
This painting is held together by an abstract design seen on the right. The insert shows the pattern clearly. It did not take any special ability to do this. It was simply a matter of connecting all of the darks together, and then adding a couple of slashes of color drawn from the actual background colors which were there. This type of vignette pattern has been used for centuries in informal sketches, but reached its peak of sophistication when it was widely painted to perfection by the great American Illustrators in the 20th century. 这幅画由右侧的抽象设计固定在一起。插图清楚地展示了图案。做这件事并不需要任何特殊的能力。只需要简单地将所有的暗色连接在一起，然后添加几笔颜色，这些颜色取自实际背景颜色。这种小插图图案几个世纪以来一直被用于非正式的素描中，但当它在 20 世纪被伟大的美国插画家广泛完美地绘制时，它达到了最高的精致程度。
WHAT IT REALLY IS 它真正是什么
What we are really seeing when we are attracted to striking designs is simply artists' ingenious solutions to their particular problems of arrangement. We are looking at the result of their thought processes rather than the operation of an elemental law. I believe one of the reasons certain artists are able to do that is because they have a very clear and strong understanding of what they wish to paint and how they want to express it. It is when ideas are fuzzy that self-expression becomes so difficult. (Ask any writer.) Knowing what we wish to say comes first, the design then follows effortlessly. 当我们被引入引人注目的设计时，实际上我们看到的是艺术家对他们特定布局问题的巧妙解决方案。我们看到的是他们思维过程的结果，而不是基本法则的运作。我相信某些艺术家能够做到这一点的原因之一是因为他们非常清晰和深刻地理解他们希望绘制的内容以及他们希望如何表达。当想法模糊时，自我表达就变得如此困难。（问问任何作家。）知道我们想要表达的内容是第一位的，设计随后就会毫不费力地跟随而来。
The more interesting design solutions tend to endure because the people who thought of them were very innovative. (The same is true of technique.) When those solutions were linked to other cultural basics of their time-tradition, religion, philosophy, economics, or mathematics - they merged to form whole periods or schools of composition such as Classical Greek, Roman, Italian Renaissance, Baroque, Dutch, Victorian, or Tang dynasty. Today these influences still abide, but are not reflected in Modern art. The playing field in the area is now so extensive and aggressively experimental no single trend has emerged as dominant. 更有趣的设计解决方案往往会持久，因为想出这些解决方案的人非常具有创新精神。（技术也是如此。）当这些解决方案与其所处时代的其他文化基础——传统、宗教、哲学、经济或数学——联系在一起时，它们融合在一起形成了整个时期或学派的构成，如古希腊、罗马、意大利文艺复兴、巴洛克、荷兰、维多利亚或唐朝。如今这些影响仍然存在，但在现代艺术中并未得到体现。该领域的竞争激烈程度和实验性已经如此广泛，没有任何一种趋势能够成为主导。
What fascinated me most of all in the works of artists whose compositions captured me, was how fresh and imaginative their thinking was. Like children who have yet to be restrained by convention, great designers are constantly open and always wondering. When asked the classic question, "how many things can you do with a brick," children don't just say something about building a wall as adults might. Instead their imaginations come alive. 在那些作品中，最让我着迷的是那些吸引我的艺术家作品，他们的构图是如何新鲜和富有想象力。像那些尚未被传统约束的孩子一样，伟大的设计师们始终保持开放和好奇。当被问及经典问题“用一块砖头可以做多少事情”时，孩子们不会像成年人那样只说到建墙。相反，他们的想象力会被激发。
Mozart is a perfect example of such thinking. He was an unequalled prodigy. Born into the so called Classical period, with its myriad of rigidly acceptable musical practices, he could have cooperated and cashed in on his skills. Instead his imagination and lets-try-this-and-see-what-happens ingenuity fed a seemingly endless stream of music from both his pen and his performances. He used the same instruments and performers his contemporaries did, but he demonstrated they were using only a fraction of the available possibilities and power at their command. What he created not only had never been heard before, but it utterly transformed music for generations. Today his legacy of beauty is embraced by us with awe, though he created it more than two centuries ago. 莫扎特是这种思维的完美典范。他是一个无与伦比的神童。出生在所谓的古典时期，那时有许多严格可接受的音乐实践，他本可以合作并利用自己的技能。相反，他的想象力和试试这个看看会发生什么的创造力，滋养着他的笔端和表演中看似无穷无尽的音乐流。他使用与同时代人相同的乐器和演奏者，但他展示了他们仅仅使用了命令下的可用可能性和力量的一小部分。他创造的不仅是前所未闻的，而且彻底改变了几代人的音乐。今天，他的美的遗产让我们敬畏，尽管他创造它已经超过两个世纪了。
MY SOLUTIONS 我的解决方案
For me, the designs of my paintings are not ends in themselves. I think of them as I do the other essential elements I need to voice my ideas. To give you an analogy, the purpose of my house is to have a comfortable place to live in, one which charms me, rather than something to impress the neighbors. My attitude toward design is similar. All I care about is whether it serves to depict the thing I am painting, and then pleases me when I see it finished. I don't worry about either following or breaking any of the guidelines, or even if my design is particularly clever or sophisticated or original. To me, composing is simply a matter of having a definite picture of what I want to see on my canvas-and then doing it. 对我来说，我的绘画设计并不是为了自身而存在。我把它们看作是我表达观念所需的其他基本要素。打个比方，我的房子的目的是为了提供一个舒适的居住地，一个让我着迷的地方，而不是为了给邻居留下印象。我的设计态度类似。我只关心它是否有助于描绘我正在绘画的事物，以及当我看到完成品时是否让我满意。我不担心是否遵循或打破任何准则，甚至不担心我的设计是否特别聪明、复杂或原创。对我来说，创作只是简单地确定我想在画布上看到什么画面，然后去做。
My hope is to capture a viewer's attention, then direct it to the important areas of the painting, and keep it there. Any design which facilitates that happening is "good" composition in my view. It is simply whatever does the job-whatever viewpoint or arrangement I think will convey my idea best. 我的希望是吸引观众的注意力，然后引导他们关注绘画的重要区域，并保持在那里。在我看来，任何能促使这种情况发生的设计都是“好”的构图。它只是完成工作的任何方式 - 无论是哪种观点或安排我认为能最好地传达我的想法。
I have a few standards for myself (which I interpret rather liberally). One of them is about subtlety. Whenever my design becomes too obvious or overpowering, it interferes with my purpose. I want you to see my picture first, not my design. As with any other element in a painting, I believe composition should remain a functional part of the whole. (Unless the design itself is the point of the subject.) Along with this, I believe simplicity is a good idea whenever possible. I would rather not risk confusing my audience with conflicting points of interest or unnecessary ostentation. (A little is nice, though.) I like a certain naturalness too. By that I mean showing things the way a normal human being sees the world, rather than viewpoints only a mouse, or a soaring bird, or a fish would experience. I can't expect my viewer to believe I was submerged underwater or suspended in mid-air while painting. Finally, I like to alternate between being super literal and being loosely arty in my renderings. I don't want to bore anyone either. 我对自己有一些标准（我会相对自由地解释）。其中之一是关于微妙之处。每当我的设计变得太明显或过于强大时，它会干扰我的目的。我希望你先看到我的图片，而不是我的设计。与绘画中的任何其他元素一样，我认为构图应该保持整体的功能性部分。（除非设计本身是主题的重点。）除此之外，我认为简单是一个好主意，尽可能简单。我宁愿不冒风险用矛盾的兴趣点或不必要的炫耀来困惑我的观众。（尽管有点炫耀也不错。）我也喜欢一定的自然。我的意思是展示事物的方式，就像一个普通人看世界的方式，而不是只有老鼠、翱翔的鸟或鱼才能体验到的视角。我不能指望观众相信我在绘画时是在水下潜水或悬浮在半空中。最后，我喜欢在我的作品中在超级文字和松散艺术之间交替。我也不想让任何人感到无聊。
THE SONG oil on canvas, 《歌曲》油画，
This is without question the strongest use of pattern I have ever made. 这无疑是我迄今为止制作的图案运用最强烈的作品。
DECISIONS, DECISIONS 决策，决策
In working from life with something already arranged, such as a landscape, all I have to do is make choices. Once I settle on what I wish to paint, it is up to me-and me alone-to pick out which specific section of the landscape to do. It is then my task to select a vantage point I find satisfying, to judge how large or small I wish to represent it, and to decide where I want to place it within my canvas. When I am arranging a subject to paint (setting up a still life or a model, for example) I have more options, and therefore more decisions to make as well. Since I can arrange things in any way I wish, I must have a plan. If I don't have one, I won't know where to start, what to shoot for, or even when I'm finished. Bad choices are things I don't wish to see on my canvas, so I don't choose them. 在从生活中创作时，如果已经有一些安排好的东西，比如一幅风景画，我所要做的就是做出选择。一旦我确定了想要绘制的内容，就由我自己来决定绘制风景的具体部分。然后，我的任务是选择一个令我满意的视角，判断我想要表现的大小，以及决定在画布上的放置位置。当我安排一个绘画主题（比如布置一个静物或模特）时，我有更多的选择，因此也需要做更多的决定。由于我可以按照自己的意愿安排事物，所以我必须有一个计划。如果没有计划，我就不知道从哪里开始，要达到什么目标，甚至何时才算完成。我不希望在画布上看到糟糕的选择，所以我不会选择它们。
So, how do I make my choices? The same way I choose from a box of chocolates-according to what appeals to me. I usually know what I want to paint, or at least what I'm looking for, so that part is not a problem. (I never just have an urge to paint.) First an idea comes. Then I clarify my idea. I see it in my mind as a painting by going through my version of that mental checklist I described in Chapter Three on Starting. I ask myself I want to paint the thing I have in mind, and what it is about the subject I find intriguing. The how-to-do-it then becomes obvious once I understand the what and why. When I do it in such a way-as opposed to searching through a set of rules and theories-it isn't hard, it's fun! It's like creating my own banana split with all the maraschino cherries and chocolate syrup my little heart desires, and I'm the one who gets to eat it! It is total freedom because I can do anything. You can too! 那么，我如何做出选择呢？就像我从一盒巧克力中选择一样-根据吸引我的东西。我通常知道我想要绘画什么，或者至少知道我在寻找什么，所以这部分不是问题。（我从来没有只是想要绘画的冲动。）首先会有一个想法。然后我会澄清我的想法。我在脑海中看到它是一幅画，通过我在第三章“开始”中描述的那种心理清单的版本。我问自己 我想要绘画我心中所想的东西，以及关于这个主题让我觉得有趣的是什么。一旦我理解了“是什么”和“为什么”，“如何做”就会显而易见。当我这样做时-与搜寻一套规则和理论相反-这并不困难，而是有趣的！就像创造我自己的香蕉船，上面有我小心心所渴望的所有樱桃和巧克力浆，而且我是那个可以吃的人！这是完全的自由，因为我可以做任何事情。你也可以！
GOOD THINGS TO KNOW——BUT BE CAREFUL 好好了解——但要小心
So, are there no rules? Is there nothing more than your instinct to guide you? Are there no merits in the traditional principles we are taught about composition? Of course there are! The very things I mentioned above-the abstract notions I said were so difficult to pin down - all those ideas are invaluable tools when they are understood in more specific terms. Just bear in mind they are only suggestions, not rule-bound instructions. They are useful ideas, but they are not in any way absolute requirements. Moreover, most compositions rarely involve all the elements of design. For example, many paintings do not contain large simple masses, strong lines, or even a noticeable pattern, yet they satisfy us. The following are the more familiar compositional basics, with my version of what they are, and are not. 那么，难道没有规则吗？除了本能，没有其他指导吗？我们所学习的关于构图的传统原则中难道没有优点吗？当然有！我上面提到的抽象概念 - 我说很难准确把握的那些想法 - 当以更具体的术语理解时，所有这些想法都是宝贵的工具。请记住，它们只是建议，而不是受规则约束的指示。它们是有用的想法，但绝不是绝对要求。此外，大多数构图很少涉及所有设计元素。例如，许多绘画不包含大而简单的形状、明显的线条，甚至没有明显的图案，但它们却能让我们满意。以下是更为熟悉的构图基础知识，以及我对它们的理解和不理解。
BALANCE is one of the most constant preoccupations when it comes to composition. When painters are unhappy with a composition the first thing they say is: it doesn't work. When asked what that means, they say it doesn't balance. When pushed to explain further, they point out how everything is too much over here or over there, or grouped at the bottom or top, or just scattered about in a way which leaves them uneasy. The problem almost solves itself when they can finally be that specific; just move things where they look better to you. 平衡是涉及构图时最持续的关注之一。当画家对一幅作品感到不满意时，他们首先会说：它不起作用。当被问及这意味着什么时，他们会说它不平衡。当被迫进一步解释时，他们会指出一切都太过于这里或那里，或者聚集在底部或顶部，或者只是散落在一种让他们感到不安的方式。当他们最终能够具体指出问题时，问题几乎会自行解决；只需将事物移动到你认为更好看的地方。
If I can describe why a picture looks out of balance to me-exactly which thing bothers me-I am at the same time providing myself with the solution to correct it. If I am unhappy with things shoved to one side, I can just move them to the center, or the other side, or wherever I please. That's all there is to it. The Design Police will not come crashing through my studio door and arrest me for violating the rules of balanced composition. 如果我能描述为什么一幅图片在我看来不平衡-究竟是什么让我感到不舒服-我同时也为自己提供了纠正的解决方案。如果我对被推到一边的事物感到不满，我可以把它们移到中心，或者移到另一边，或者任何我喜欢的地方。就是这样简单。设计警察不会闯进我的工作室，因为我违反了平衡构图的规则而逮捕我。
There are no "right" places to put things except where they look best to me. If I don't like the way nature is arranged I can find a better viewpoint. In any case, there is no commandment I must have balance in a painting. The whole idea of balance stems from tradition anyway. There is a belief that a sense of visual balance in art stems from our natural physical need for equilibrium, but there is no real evidence for that. Art is a human invention (along with all the forms and conventions that go with it). Looking at art and responding to it is a learned human phenomenon. If there were anything natural about it, cats would pounce at pictures of mice, but they don't, at least not mine. (Possibly I need to paint mice more convincingly.) 放置物品的“正确”位置除了在我看起来最好的地方之外，没有其他地方。如果我不喜欢大自然的布局方式，我可以找到一个更好的视角。无论如何，在绘画中我并没有必须保持平衡的戒律。整个平衡的概念本来就源自传统。有一种信念认为，艺术中的视觉平衡感源自我们对平衡的自然生理需求，但并没有真实的证据支持这一观点。艺术是人类的发明（以及所有相关形式和约定）。观看艺术并对其做出反应是一种学习的人类现象。如果这其中有任何自然的因素，猫就会扑向老鼠的画像，但它们并没有，至少我的猫没有。也许我需要更有说服力地画老鼠。
NANCY'S VELVET CAPE oil on canvas, 南希的天鵝絨披風 油畫 画布
Here is another example of pattern as the dominate design structure in a painting. What is particularly interesting about this picture is the design pattern. In its usual form it is a series of connected dark shapes on a light field; in this case it is a pattern of both connected dark shapes and a series of connected light shapes intertwined to create a dance of designed values. 这是另一个以图案作为绘画中主导设计结构的例子。这幅图片特别有趣的地方在于设计图案。通常情况下，它是一系列连接的深色形状在浅色背景上；而在这种情况下，它是一种既有连接的深色形状又有一系列连接的浅色形状交织在一起，创造出设计价值的舞蹈。
I must confess I did not plan this fortunate outcome. My intention at the start was merely to connect the darks, but as the painting developed, I saw I could do the same, or nearly the same with the light areas. 我必须承认，我并没有计划这个幸运的结果。我最初的意图只是连接黑暗部分，但随着画面的发展，我发现我也可以做同样的事情，或者几乎相同的事情，处理光亮区域。
On a personal note, this is one of the many paintings I have done of Nancy on New Years Day as our way of celebrating. We alternate; one year I paint her, the next year she paints me. 就个人而言，这是我在新年为庆祝而为南希绘制的众多画作之一。我们轮流着；一年我画她，下一年她画我。
As far as I know, we are not endowed with an inborn sense of what is aesthetically effective about balance or anything else. If such a capacity were included in our DNA or breathed into our souls, Art would be boring stuff indeed. Not only that, it would probably all look the same in every culture and generation. We learn much by being taught, but also a lot through discovery and experimentation. I like breaking the rules when I paint. For me, the idea of incongruity (not in keeping with what is appropriate or proper) is seductive because when I use it with a deliberate purpose in mind, the tension can be very effective-it is the same twist which makes a good joke funny. It was also the most fun of being a little boy. I know. So having all the interest shoved up into one corner of a painting can sometimes be not only refreshing, but very powerful indeed, as you shall see. 据我所知，我们并没有天生的美学平衡或其他方面的直觉。如果这样的能力被编码在我们的 DNA 中或灌输到我们的灵魂中，艺术将变得乏味无趣。不仅如此，在每个文化和时代，艺术可能看起来都是一样的。我们通过教导学到很多，也通过发现和实验学到很多。我喜欢在绘画时打破规则。对我来说，不协调的概念（与适当或得体不符）很吸引人，因为当我有一个明确的目的时使用它，这种紧张感可以非常有效-这就是使一个好笑话有趣的转折点。这也是小时候最有趣的事情。我知道。因此，将所有的兴趣集中在绘画的一个角落有时不仅令人耳目一新，而且非常有力量，正如你将看到的那样。
HARMONY in design is more difficult to pin down. It is not some ideal relationship among the elements in a painting. There is no such thing. There are no valid absolutes underlying design as such, only passing taste. Disharmony is easier to explain. As with color, it is the presence of something that can't possibly belong, except perhaps as a glaring anomaly, which is easy to identify because it invariably involves an error in drawing, values, edges or color. If your subject looks OK (nothing cockeyed or out of kilter) to you, but your painting doesn't, then you probably made technical mistakes. To find your errors, use the process of elimination I described in Chapter One (Free Advice). It works. 设计中的和谐更难以捉摸。它不是绘画元素之间的某种理想关系。这种东西并不存在。设计本身没有任何有效的绝对规则，只有短暂的品味。不和谐更容易解释。就像颜色一样，它是某种明显不合适的存在，除非可能作为一个醒目的异常，这很容易识别，因为它总是涉及绘画、价值观、边缘或颜色方面的错误。如果你的主题看起来没问题（没有歪斜或不协调的地方），但你的绘画看起来不对劲，那么你可能犯了技术错误。要找出你的错误，使用我在第一章（免费建议）中描述的排除法。这很有效。
If you have arranged a subject, such as a still life, and it doesn't look harmonious to you, it means you didn't have a clear idea of what you wanted to do. If you did, you would have had no problem putting things exactly where you wanted them, and you would be happy. 如果你安排了一个主题，比如静物，但它看起来不和谐，那意味着你对自己想要做什么没有清晰的想法。如果你有的话，你就不会有问题把东西放在你想要的地方，你会感到满意。
LINES OF DIRECTION are the conspicuous edges of long shapes (or actual lines) in a painting which presumably "lead" an observer's attention where you want it to rest. It's helpful when they seem to travel to your center of interest. If they lead out of your picture or in some way seem awkward to you, they can often be softened or even eliminated without being noticeably unfaithful to the subject. If you can't do that, find another spot from which to paint. Some subjects have no strong lines at all, and that's fine. Lines are not the only tools we have. 方向线是绘画中长形状（或实际线条）的显著边缘，它们被认为“引导”观察者的注意力到您希望其停留的地方。当它们似乎通向您感兴趣的中心时，这是有帮助的。如果它们引导观察者离开您的画面，或者以某种方式对您来说显得尴尬，通常可以通过软化甚至消除它们，而不会明显背离主题。如果您无法做到这一点，请找到另一个适合绘画的位置。有些主题根本没有明显的线条，这也没关系。线条并不是我们唯一拥有的工具。
Be wary of the many curious notions about lines, particularly the belief that certain lines in themselves have suggestive personalities. There are supposed to be happy lines, sad lines, sexy lines (naturally), spiritual lines, lines that shouldn't touch, symbolic lines, and so on. Ideas such as these are simply attempts to create rules of design. Lines are simply lines. If you come across such nonsense, ignore it. Perspective lines, however, are vital. Get them right, but eliminate them after they have served their purpose. 对线条的许多奇特观念要保持警惕，特别是认为某些线条本身具有富有暗示性的个性这种信念。据说有快乐的线条，悲伤的线条，性感的线条（自然而然），灵性的线条，不应该接触的线条，象征性的线条等等。诸如此类的想法只是试图创造设计规则。线条只是线条。如果你遇到这种无稽之谈，就忽略它。然而，透视线是至关重要的。确保它们正确，但在发挥作用后将其消除。
MOVEMENT and RHYTHM are also ideas about controlling the attention of an observer's gaze, except that shapes are involved instead of lines. Movement can probably best be described as the use of more or less connected shapes to nudge a viewer's interest within a painting - stopping at the main dish, of course (your focal point) - then going around again. Rhythm in music is defined as the regular recurrence of a beat. I presume in painting it is something similar, such as a repetition of certain identical or nearly alike shapes intended to make things more pleasant along the way-having all your ducks in a row, so to speak. This is not a bad idea if the shapes are actually present in the subject. If they aren't, and you move the shapes indiscriminately, your painting will not look exactly as the subject does, but it is always your choice. 运动和节奏也是关于控制观察者目光的想法，只不过涉及到形状而不是线条。运动可能最好地被描述为使用更多或更少连接的形状来引导观众在绘画中的兴趣 - 当然要停留在主菜（你的焦点） - 然后再绕一圈。音乐中的节奏被定义为节拍的定期重复。我认为在绘画中，它类似于某种重复某些相同或几乎相似形状的意图，旨在使事物更加愉悦 - 可以说是让所有事情井然有序。如果这些形状实际上存在于主题中，这并不是一个坏主意。如果它们不存在，并且你随意移动形状，你的绘画看起来将不会完全与主题相同，但这始终是你的选择。
If the repetitive shapes in your subject are boringly similar, as they usually are in new or modern structures, tap into your imagination and find a way to break up the monotony, or paint something else which has the character marks of age. I have observed that pre-modern architecture just gets better with age, but modern architecture only gets worse. Perhaps that is why modern wonders are torn down so quickly. 如果你主题中的重复形状太过相似而显得乏味，就像在新的或现代建筑中通常会出现的情况一样，那就发挥你的想象力，找到一种打破单调的方式，或者绘制一些带有年代特征的其他东西。我观察到，古代建筑随着时间的推移变得越来越好，但现代建筑却只会变得更糟。也许这就是为什么现代奇迹会被如此迅速地拆除的原因。
GRETCHEN SEWING oil on panel, 格蕾琴·索因格 油画作品，
This is an early portrait of my daughter Gretchen - a classic Dutch composition (although horizontal instead of vertical) and an excellent example of the use of pattern to achieve unity in painting. I used transparent dark values in all of the shadows, and opaque paint in all lighted' areas. Pattern, especially one as strong and simple as this one, was probably the most commonly used compositional motif for portraiture beginning with the Dutch painters and continuing to this day. Note how nearly all light areas are connected, as are all dark areas. There are very few "floating" values of any consequence to disturb the pattern, or draw the observer's eye away from the focal point. For pure concentration of attention, nothing beats this. It is like a single voice in a quiet room. 这是我女儿格雷琴的早期肖像 - 一个经典的荷兰构图（尽管是横向而不是纵向），也是运用图案实现绘画统一的绝佳示范。我在所有阴影中使用透明的深色值，而在所有光亮区域使用不透明的颜料。图案，尤其是像这样强大而简单的图案，可能是从荷兰画家开始直至今天最常用的构图主题之一。请注意几乎所有明亮区域是相连的，所有暗区域也是如此。几乎没有任何重要的“漂浮”价值会干扰图案，或使观察者的目光离开焦点。对于注意力的纯粹集中，没有什么能比得上这个。就像安静房间里的单一声音。
Ideas about Movement and Rhythm are perhaps more useful in setting up a model or still life because you have more control in those situations. Elements to be painted can be arranged with a definite plan. Still, plan or no plan, you can never count on a person seeing your painting the way you might like them to-someone buying a painting as an investment might see only your signature. With a nude figure painting, you know where eyes will go no matter what else is in the picture. 关于运动和节奏的想法可能在建立模型或静物时更有用，因为在这些情况下你有更多的控制权。要绘制的元素可以按照明确的计划进行安排。然而，无论有无计划，你永远无法确定一个人会以你喜欢的方式看待你的绘画-购买绘画作为投资的人可能只看到你的签名。在裸体人物画中，无论图片中还有什么，你都知道人们的目光会落在哪里。
VALUES, the fewer the better, especially unbroken, well-defined ones, are considered essential if you really want to get attention. Such was one of the first commandments I read when I was younger. Well, if that is true we would have to write off the major portion of Monet's work. Unquestionably, simple contrasting values yield strong statements, just as a powerful voice gets more attention than a lot of little twitters. I think the key word here though is appropriateness. Subtlety, softness, intricacy, and other qualities have their place in judging art. A whispered word under the right circumstances can be louder than shouting. Strong simple values are wonderful when they are obviously the outstanding quality of a subject; however, if those values are not there, don't try to invent them. When you are singing a lullaby, you shouldn't scare the daylights out of a kid by doing it like you were singing Grand Opera. When your values match those in your subject, your painting will have all the authority it needs. 价值观，越少越好，尤其是未被打破、定义明确的价值观，如果你真的想引起注意的话，被认为是必不可少的。这是我年轻时读到的第一戒律之一。嗯，如果这是真的，我们将不得不放弃莫奈作品的大部分。毫无疑问，简单对比的价值观会产生强烈的表达，就像强有力的声音比许多小小的叽叽喳喳更容易引起注意一样。我认为这里的关键词是恰当。微妙、柔和、复杂等品质在评判艺术时都有其位置。在适当的情况下，低声细语可能比大声呼喊更引人注目。当简单明了的价值观显然是主题的杰出品质时，它们是美妙的；然而，如果这些价值观不存在，就不要试图创造它们。当你在唱摇篮曲时，不应该像在演唱大歌剧那样吓到孩子。当你的价值观与主题中的价值观相匹配时，你的绘画将拥有所需的所有权威。
FOCAL POINTS are centers of interest-places you want your viewer to pay attention to-the vital spot where lines of direction and movement are supposed to lead. A center of interest makes good sense. The mind wanders when there is nothing to focus on, which is why politicians and art critics are so boring. Having one dominant focal point certainly seems to be the best way to avoid confusing a viewer. Rembrandt, as we know, was very good at this, and his placement of a single illuminated face against a dark background is a classic standard. 焦点是兴趣的中心-你希望观众关注的地方-方向和运动线条应该引导的重要位置。一个兴趣中心是有道理的。当没有焦点时，思绪会漫无目的，这就是为什么政客和艺术评论家如此无聊的原因。拥有一个主导焦点似乎确实是避免让观众困惑的最佳方式。众所周知，伦勃朗在这方面非常擅长，他将一个照亮的面孔置于黑暗背景中是一个经典的标准。
When there are many elements in a composition, as in a tolerable ménage à trois, a choice must be made about which should prevail. That, of course, is up to you. If the thing you want to be your center of interest is already outstanding in your subject, just paint what you see. If other elements compete for attention, simply emphasize the one you want, or subdue the others, or do both. It is easy to create a single powerful center of interest-just concentrate the brightest colors, sharpest edges, the most interesting drawing, and most contrasting values all in one spot! 当一个构图中有许多元素时，就像在一个可以容忍的三角关系中一样，必须选择哪个元素应该占主导地位。当然，这取决于你。如果你想要成为焦点的东西已经在你的主题中很突出，那就只需描绘你所看到的。如果其他元素争相吸引注意力，只需强调你想要的那个，或者压制其他元素，或者两者兼而有之。要创建一个强大的焦点很容易——只需将最明亮的颜色、最锐利的边缘、最有趣的线条和最对比鲜明的价值观都集中在一个地方！
Don't worry about where on a canvas to put your center of interest. There is no "right" place to put a center of interest other than where it looks best to you-where you hope to direct your viewer. The idea that there is an ideal aesthetic center on your canvas is as silly as the right place for a cloud in the sky. 不要担心在画布上放置焦点的位置。除了你认为最好的地方-你希望引导观众的地方之外，没有“正确”的放置焦点的地方。在你的画布上有一个理想的美学中心的想法就像天空中云的正确位置一样愚蠢。
PATTERN is one of the most important design structure essentials to know about. Typically, it is a large conspicuous shape (or more often a grouping of shapes) within a picture area to form an abstract value design. This can be created by connecting either the light or dark values in a subject together en masse against a contrasting background. For example, the shape of a model's white dress may connect with the light-colored shapes of a background to form a single larger shape. Often two or three connected value shapes can be beautifully entwined to form a sort of visual fugue on a canvas in the same way multiple melody lines dance together in music. More basic patterns serve nicely as a sort of master plan when a subject already has broad simple values joined, or when you wish to set up a subject in such a way as to have such a pattern to paint. 图案是设计结构中最重要的要素之一。通常，它是一个大而显眼的形状（或更常见的是一组形状），位于图片区域内，形成抽象价值设计。这可以通过将主体中的明暗值连接在一起，集中对比背景而创造出来。例如，模特身上白色礼服的形状可能与背景中的浅色形状连接在一起，形成一个更大的形状。通常，两个或三个连接的价值形状可以美妙地交织在一起，在画布上形成一种视觉赋格，就像多条旋律线在音乐中共舞一样。更基本的图案可以很好地作为一种总体规划，当主体已经具有广泛简单的连接值时，或者当您希望以某种方式设置主体以便绘制这样的图案时。
We are all familiar with these frameworks in the other arts-the spin-off of a fugue into its variations in music, or the interplay of storylines in a novel. Such structures when they join provide a single unifying motif in which to expand even more ideas. The concept and use of Pattern goes so far back in time its origins have been lost. I have found it in ancient Egyptian, Greek, and Chinese art. It continued through the Italian Renaissance and following periods to us today. I always found it amusing that Modern art, which embraces abstraction as its staple, claims it as something revolutionary in art. 我们都熟悉其他艺术领域中的这些框架——音乐中赋格的分支变奏，小说中情节的交织。当这些结构相互融合时，提供了一个统一的主题，可以进一步扩展更多的想法。图案的概念和运用可以追溯到很久以前，其起源已经不可考。我在古埃及、希腊和中国艺术中发现了它。它延续至意大利文艺复兴时期及其后的时代，一直延续至今。我总觉得现代艺术，将抽象作为其主打，却声称这是艺术中的一场革命，这一点颇具讽刺意味。
GLACIER WATERFALL 冰川瀑布
oil on panel, 油彩画板，
Swan Lake, Alaska, 1998 天鹅湖，阿拉斯加，1998 年
Pattern, the design resource I use here is the most effective method I know of to achieve overall "unity" in a painting. The painting to the right is a very simple pattern - a single light value traversing two dark shapes. Other clear examples of pattern can be seen on pages 7, 10, 15, 26, 31, 34, 44, 47, , , , , 291, and 292. 图案，我在这里使用的设计资源是我所知道的实现绘画整体“统一”最有效的方法。右侧的绘画是一个非常简单的图案 - 一个明亮值穿过两个暗形状。其他明显的图案示例可以在第 7、10、15、26、31、34、44、47、291 和 292 页看到。
Pattern as a deliberate compositional motif came into broad use with the rise of Chiaroscuro (high contrast light and shadow) in the 17th century. It infected nearly all schools of Western European painting, but its best examples can be seen in Dutch, Flemish, and Spanish art. 模式作为一种有意识的构图主题，随着 17 世纪明暗对比（高对比光影）的兴起而广泛应用。它几乎影响了所有西欧绘画学派，但其最好的例子可以在荷兰、佛兰芒和西班牙艺术中看到。
Rubens in his painting, "Descent from the Cross" used it splendidly. Velasquez, Rembrandt, Hals, and others embraced it also. Pattern became the abstract structure unifying complicated paintings; it served as the basis for arranging subject matter and disparate pictorial elements into and within a few main value shapes, rather than allowing things to be scattered about haphazardly. 在他的画作《十字架下降》中，鲁本斯出色地运用了这一技巧。韦拉斯奎兹、伦勃朗、哈尔斯等人也采用了这种方法。图案成为了抽象结构，统一了复杂的画作；它作为安排主题和不同的图像元素到几个主要价值形状中的基础，而不是让事物随意散落。
Pattern gives a painter a plan, a grand design to follow. Often, as here, nature provides a ready-made pattern. Other times we must search for vantage points or manipulate our subjects (as in setting up a model or still life) to achieve a pattern. 图案为画家提供了一个计划，一个宏伟的设计供其遵循。通常情况下，自然会提供一个现成的图案，就像这里一样。有时候我们必须寻找有利的角度或操纵我们的主题（比如设置模特或静物）来实现一个图案。
The most salient feature of a pattern is that, in a painting, either all of the major light shapes are connected, or all the dark shapes. In the case of certain vignettes, it can be both, often splendidly intertwined as a kind of ballet across a canvas. When I see it I think of the beauty of a Bach fugue. 图案的最显著特征在于，在一幅画中，要么所有主要的光形状相连，要么所有暗形状相连。在某些小插图的情况下，它可以是两者，通常精彩地交织在画布上，如同一种芭蕾舞。当我看到它时，我想到了巴赫赋格的美丽。
I use pattern in my compositions whenever it is possible. Patterns are easy to spot both in nature and in art. In the Colorado mountains where I lived for several years, nature's patterns abounded in the massive rock structures, streams, and sweeping cloud formations. In a painting, however, a pattern is simply a flat (two-dimensional) value shape which can be any combination of any visible elements. Objects, patches of sunlight, background values, all can combine (when they are connected) to form a single value pattern. Painters such as Rembrandt, Toulouse-Lautrec, Philip Andreevich Maliavin, and many of the American illustrators used strong patterns as the basis of their compositions. In my opinion the all-time Master of pattern as the basis of composition was the painter and muralist Sir Frank Brangwyn. 我在创作中尽可能地运用图案。图案在自然界和艺术中都很容易发现。在我曾经居住了几年的科罗拉多山脉，自然的图案在巨大的岩石结构、溪流和广阔的云层中随处可见。然而，在绘画中，图案只是一个简单的平面（二维）价值形状，可以是任何可见元素的任意组合。物体、阳光斑、背景价值，所有这些元素可以结合在一起（当它们相连时）形成一个单一的价值图案。像伦勃朗、图卢兹-洛特雷克、菲利普·安德烈耶维奇·马利亚文以及许多美国插画家都将强烈的图案作为创作的基础。在我看来，作为创作基础的图案大师是画家和壁画家弗兰克·布朗温爵士。
SO WHAT SHOULD YOU DO? 那么你应该怎么做呢？
How do you make judgments about your own designs? My advice is first to learn all you can about what has already been done. If you are new to the idea of pattern, go into the Internet and look up Brangwyn and the others I mentioned. Check out the images which show pattern in this book. There are many books available on design theory with helpful graphics and in more detail than I can provide here. Some books are worthwhile, but others, because they are rigidly dogmatic (filled with rules), or written in vague terms, should not be taken seriously. Make sure the ideas and explanations in them are written in plain everyday English instead of arty gobbledygook such as: "Unity is harmony in balance with objective rhythmic dynamics." That kind of drivel is simply ostentation concealing ignorance, and it leads nowhere. 你如何评判自己的设计？我的建议是首先要了解已经完成的工作。如果你对图案的概念还很陌生，可以上网搜索 Brangwyn 和我提到的其他人。查看这本书中展示图案的图片。有许多关于设计理论的书籍，配有有用的图形，比我在这里提供的更详细。有些书是值得一读的，但其他一些书因为过于教条（充满规则）或用模糊的术语写成，不应当认真对待。确保其中的想法和解释用通俗易懂的英语书写，而不是艺术术语，比如：“统一是与客观节奏动态平衡的和谐。”这种废话只是炫耀掩盖无知，毫无意义。
Be sensible. Don't take anything seriously which is not specific and clearly stated. If it is specific, don't accept it unless it is well-grounded and you understand and agree with it. If you are a student, ask your teacher to explain things in down-to-earth terms. If that doesn't work, offer your brush and ask for a demonstration. In the event a teacher is unable or unwilling to do either, then find yourself another teacher. When you do connect with a wise teacher, use the words and how a lot. Good teachers like that, and you get good answers. 要明智。不要认真对待任何不具体和明确陈述的事情。如果它是具体的，除非有充分的根据并且你理解并同意它，否则不要接受。如果你是学生，要求老师用通俗易懂的语言解释事情。如果这样不起作用，提供你的笔并要求示范。如果老师无法或不愿意做任何一件事，那么找另一个老师。当你遇到一个明智的老师时，使用词语 和多少。好老师喜欢这样，你会得到好答案。
Above all, always be on the lookout for paintings with designs you find thrilling. Try to figure out why you like them. If you know what it is about a design that turns you on-exactly what the artist captured which you would like to capture too - then you will have learned something valuable about yourself, and that something can become part of your repertoire too! It is relatively easy to see how a design is produced once you become aware of exactly what the artist sought to achieve. 最重要的是，始终要留意那些设计让你感到兴奋的绘画。试着弄清楚你为什么喜欢它们。如果你知道一个设计让你着迷的原因 - 正是艺术家捕捉到了什么，你也想捕捉到的东西 - 那么你将学到有关自己的宝贵经验，而这种经验也可以成为你的技能库的一部分！一旦你意识到艺术家试图实现的目标，看到一个设计是如何产生的就相对容易了。
You have heard this before, but it is true. Look to the compositions in Nature! She is an infinite source of design. Like a perfect lover, she never disappoints, never grows ugly, and never fails to reveal herself in fascinating new ways. Just be faithful to her. 你以前听过这个，但它是真的。看看大自然中的构图！她是无穷无尽的设计源泉。就像一个完美的恋人，她从不让人失望，永远不会变丑，也永远不会停止以迷人的新方式展现自己。只要对她忠诚。
DRAWINGS by CHARLES HUNTER (opposite) 查尔斯·亨特（对面）的素描
I do not know if I ever said no one is born with a natural sense of design, but if it is within the realm of human evolution, or the whim of the Divine, to allow one individual to possess such a gift, then Charles Hunter is certainly the lucky winner. Since he began painting and drawing as a new member of the Putney Painters some time ago, Charlie has dazzled, nay, shocked, and always transported us by his uncanny ability to seize upon the most unnoticeable of things, and transform them into bewitching jewels. 我不知道我是否曾经说过没有人天生具有设计天赋，但如果这在人类进化的范围内，或者是神的一时兴致，允许一个人拥有这样的天赋，那么查尔斯·亨特肯定是幸运的赢家。自从他不久前作为普特尼画家团的新成员开始绘画和绘图以来，查理以他神奇的能力令我们眼花缭乱，甚至震惊，并总是通过他抓住最不起眼的事物并将它们转化为迷人的宝石而将我们带入另一个境界。
No Oriental or Occidental Master of the pure line can surpass what Charlie, almost matter-of-factly does when he takes pencil in hand. I include a few samples on the right as design qualities for inspiration. 没有东方或西方纯线大师能超越查理在拿起铅笔时几乎毫不费力地所做的事情。我在右侧包含了一些样本，作为设计灵感的品质。
DRAWINGS by CHARLES HUNTER 查尔斯·亨特的素描
NANCY GUZIK THE PAINTER oil on canvas, 南希·古兹克，画家，油画，
NANCY GUZIK BIANCA oil on canvas, 南希·古兹克的油画作品《比安卡》，
I use the images on this page and those on the right as examples of remarkable compositions. Being associated with, and eventually married to Nancy Guzik, I had a singular opportunity to witness the development of her design abilities. While she worked to perfect her skills in other areas of painting, somehow her sense of creating compelling arrangements evolved naturally. 我将此页面上的图像和右侧的图像作为出色构图的示例。与南希·古兹克结缘并最终结为夫妻，我有幸目睹她设计能力的发展。在她努力完善绘画其他领域的技能的同时，她创造引人入胜布局的感觉不知何故自然而然地演变了。
NANCY GUZIK TANGERINE SCARF oil, 南希·古兹克 橘色围巾 油画
Nancy says sometimes a perfect composition often awaits her in a subject, but in other situations, she must compose the elements that make up a subject. 南希说，有时候一个完美的构图常常在一个主题中等待着她，但在其他情况下，她必须组合构成一个主题的元素。
When working with children she relies entirely on their own instinctive ways of arranging themselves. She then picks what she feels is the best vantage point for painting. 在与儿童合作时，她完全依赖于他们自己的本能方式来安排自己。然后，她选择她认为是最佳绘画视角。
It is obvious from these five works how successful her reliance on the natural flow of things is. In my mind Nancy's gift lies in spotting the exact moment to capture. I also believe that ability stems from her wonderfully open imagination. 从这五件作品中可以明显看出，她对自然流动的依赖是多么成功。在我看来，南希的天赋在于抓住捕捉的确切时刻。我也相信，这种能力源自她那个极具开放想象力的天赋。
This should get me a pretty good dinner tonight. 今晚这应该能让我吃上一顿相当不错的晚餐。
NANCY GUZIK ZACHARIAH oil, 南希·古兹克·扎卡赖亚 油画
NANCY GUZIK THE BOOK charcoal on gesso board, 南希·古兹克《书籍》炭笔在石膏板上，
CHAPTER ELEVEN-TECHNIQUE-PAINTING FROM LIFE 第十一章-技巧-写生绘画
SUCCESSFUL TECHNIQUES ARE THE END RESULT OF CLEAR VISIONS OF THE WORKS TO BE CREATED. 成功的技巧是对即将创作的作品有清晰愿景的最终结果。
Technique, as distinct from Techniques, is about how you physically put paint on your picture. Techniques can be anything from well-established and easily recognized methods and media of major periods of art, to just distinctive ways of working, and there are many. Examples are: Broken Color, Glazing, Egg tempera, Gouache, Palette knife, and the like. The word technique is often linked with the word STYLE, which is a more general term. Ideally, your technique ought to be a natural extension of your personal style, just as your signature is, or your smile. It's hard to fake a style for very long, because style arises from who you are naturally. 技术，与技法不同，是关于你如何在画面上实际涂抹颜料的方式。技法可以是任何东西，从艺术主要时期的成熟和容易识别的方法和媒介，到独特的工作方式，种类繁多。例如：破碎色彩，上光，蛋彩，水粉，调色刀等等。技术这个词经常与风格这个词联系在一起，后者是一个更一般性的术语。理想情况下，你的技术应该是你个人风格的自然延伸，就像你的签名或微笑一样。很难长时间伪造一个风格，因为风格源自你的本性。
As beginning painters, most of us probably felt we had an awkward technique, or none at all. That, of course, is perfectly natural. It would be strange indeed if anyone could pick up a brush for the first time and flawlessly paint in the style of Rembrandt. As children, we all needed time and practice before we could even walk or talk smoothly. Likewise we must go through a similar effort before fluent painting in our own fashion becomes possible. Boring and superficial paintings are sure to happen if we adopt techniques as ours which do not arise naturally from within our own individuality. 作为初学者，我们大多数人可能觉得自己的技巧很笨拙，或者根本没有技巧。当然，这是非常自然的。如果有人第一次拿起画笔就能像伦勃朗那样无懈可击地绘画，那才真是奇怪呢。作为孩子，我们在能够稳步行走或流利说话之前都需要时间和练习。同样，我们必须经历类似的努力，才能够流畅地以自己的方式绘画。如果我们采用的技巧不是自然而然地从我们自己的个性内部产生的话，无聊和肤浅的画作肯定会发生。
There was a time when it was considered shrewd and sensible to be recognized for having a distinctive technique. Certainly that was the case, and still is, in the world of commercial art. (It was and is true as well in fine art circles.) If you were an illustrator, an advertiser or client either chose or rejected you based on your technique and whether you had "delivered" for other clients. When it comes to the contemporary (Modern) art scene, it is more or less the same. An artist's work is far easier to sell if it conforms to a trendy style or the current "ism." In most areas of art, ease of marketing and the artificially created demand for art rest upon recognizable technique (worthy or trite). Why? Because that is where much of the money is. I think it is all nonsense. 曾经有一个时代，被认为是精明和明智的，因为拥有独特的技巧而受到认可。在商业艺术界，这当然是如此，现在仍然如此。（在美术界也是如此。）如果你是插画家，广告商或客户会根据你的技术以及你是否为其他客户“交付”而选择或拒绝你。当谈到当代（现代）艺术界时，情况多少相同。如果艺术家的作品符合时髦风格或当前的“主义”，那么更容易销售。在大多数艺术领域，艺术品的营销便利性和人为创造的对艺术的需求，都建立在可识别的技巧（无论是值得的还是陈腐的）之上。为什么？因为那里有很多钱。我认为这一切都是胡说八道。
In my case, developing a technique or style was never an issue (nor is it now). Under Bill Mosby, I had to paint exclusively from life, which meant dealing with basic tasks like drawing, values, and color. The pressure of those demands did not allow time for me to waste inventing a personal style, but Mosby's emphasis was always on painting loosely (about like Sargent). For more on "looseness" please refer back to page 18 in the chapter on Starting. I was always guided by those memorable words of Popeye the Sailorman: "I yam what I yam, and that's all what I yam." Like Popeye, whatever did emerge about technique did so by itself because that's who was. My goal, then as now, was to draw well, to have color which looked true, to get my values and edges right, to create stimulating compositions, and paint subjects I liked. It never occurred to me if anyone would ever care about the way I put paint on my canvas. I loved to experiment with different ways to use paint and I still do so constantly. When experiments work, they go into my bag of methods. Over the years my bag of tools has become very large. I guess I could call it my technique. 在我的情况下，发展技巧或风格从未是问题（现在也不是）。在比尔·莫斯比的指导下，我必须完全根据实景绘画，这意味着处理基本任务，如素描、明暗和色彩。这些要求的压力不允许我浪费时间去创造个人风格，但莫斯比始终强调宽松的绘画风格（类似萨金特）。有关“宽松”更多信息，请参阅第 18 页，即“开始”章节。我始终受到大力水手波比的那些令人难忘的话语的指引：“我就是我，我就是我。”就像大力水手一样，任何关于技巧的涌现都是自然而然的，因为那就是我。那时如今，我的目标是画得好，让颜色看起来真实，掌握好明暗和边缘，创作出令人兴奋的构图，绘制我喜欢的主题。我从未想过有人会在意我如何在画布上涂颜料。我喜欢尝试不同的涂抹方式，而且我仍然经常这样做。当实验成功时，它们就会成为我的方法之一。多年来，我的工具包变得非常庞大。我想我可以称之为我的技巧。
I do not mean you or I should not study and learn from the great Masters. On the contrary. The more we know about ingenious ways to apply paint, the more power we will have in doing it in our own paintings. It makes good sense to acquire the methods of artists we admire - the more the better-but they should always remain ancillary to our own personal fancies. 我并不是说你或我不应该学习和向伟大的大师们学习。恰恰相反。我们对如何巧妙运用颜料的了解越多，我们在自己的画作中就会有更多的力量。学习我们钦佩的艺术家的方法是明智的做法——越多越好——但它们应始终是我们自己个人幻想的附属。
It is important for us to remember the celebrated techniques-all of them-are simply various artists' solutions to the question of how best to use paint in order to portray their subjects. The more effective ways endure and become classics. The Flemish and Dutch schools, Impressionism, the Direct painting of many 19th century painters, and many works of the great Illustrators of the 20th century, are all brilliant achievements. They have influenced me deeply. I understand those methods, and I regard them as high standards. In no way, however, do I feel they are the ultimate way of painting, if such there can ever be. 重要的是我们要记住，所有备受赞誉的技巧——所有这些技巧——只是各种艺术家对如何最好地运用绘画来描绘他们的主题这个问题的解决方案。更有效的方法会长久存在并成为经典。佛兰芒和荷兰学派、印象派、19 世纪许多画家的直接绘画，以及 20 世纪伟大插画家的许多作品，都是杰出的成就。它们深深地影响了我。我了解这些方法，并将它们视为高标准。然而，我绝不认为它们是绘画的终极方式，如果这样的方式真的存在的话。
If I have a strong enough mental picture of what I wish to see on my canvas, that image will include the technique required to paint it. As I mentioned in the chapter on Starting, the image I need to get going does not have to be a complete stroke-by-stroke plan or finished version of what I expect to do. All I really need is a visualization specific enough to guide me through a good sound block-in and finishing stages. 如果我对我希望在画布上看到的东西有足够清晰的心理图像，那个图像将包括绘制它所需的技巧。正如我在“开始”一章中提到的，我需要开始的图像不必是一个完整的逐笔计划或我期望完成的版本。我真正需要的只是一个具体到足以引导我进行良好的布局和完成阶段的可视化。
Such images can come from anywhere. While I draw mostly upon myself for ideas, I am also fascinated by subjects or color effects which remind me of another artist's work. Sometimes a model's visage will evoke portraits by Serov, or Mancini (or my own). When I do get ideas from the work of others, my ego is such that my intention is not to imitate, but to capture similar qualities or effects, and then work those ingredients into my own recipe. I often paint pictures similar to the Masters' in order to capture what I feel they missed seeing. (How's that for confidence?) Powerful impressions such as these help me form my own plans for pictures. 这样的形象可以来自任何地方。虽然我大多数时候从自己身上汲取灵感，但我也着迷于那些让我想起其他艺术家作品的主题或色彩效果。有时候一个模特的面容会唤起我对塞罗夫或曼奇尼（或我自己）肖像的联想。当我从他人的作品中获得灵感时，我的自我意识使我并非要模仿，而是要捕捉相似的特质或效果，然后将这些元素融入到我的作品中。我经常绘制类似大师作品的画作，以捕捉我认为他们忽略的东西。（这样的自信如何？）这些强烈的印象帮助我制定自己的绘画计划。
Anything can set off my imagination. Once, I copied the colors of the tarnish on my bathtub's brass drainpipe because I thought the color combinations would make a nice harmony in a future painting. Very often the nature of a subject, the size of my canvas, my mood, or the circumstances under which I must paint can dictate the technique I need. For example, a scene containing broad simple shapes will not suggest a picky broken color approach, but something with interesting small patterns will. If I'm out in the wind and rain and I'm hungry, I'm not going to sit around catching pneumonia trying to paint like Vermeer. If I'm in a silly mood, anything can happen. 任何事物都能激发我的想象力。有一次，我复制了浴缸黄铜排水管上的锈色，因为我觉得这些颜色组合在未来的绘画中会产生美好的和谐。很多时候，主题的性质、画布的大小、我的心情或者我必须绘画的环境都会决定我需要采用的技巧。例如，一个包含宽广简单形状的场景不会建议我采用挑剔的破碎色彩处理方式，但是一些有趣的小图案会。如果我在风雨中饥肠辘辘，我不会坐在那里冒着肺炎的危险试图像维梅尔那样绘画。如果我心情愉快，一切皆有可能。
DEVELOPING YOUR OWN TECHNIQUE 培养自己的技巧
You were not born with an innate gift for style; you were just a cute little tabula rasa like the rest of us. You acquired personalized skills as you did everything else - through cultural pressures, practice, experimentation, and experience. Even Mozart had to learn to read and write musical notation before he could compose seriously. Learned skill and craftsmanship are as vital a part of technique as having a good idea of what you want to paint and how you wish to paint it. At one time, the words artist and craftsman actually meant the same thing-an artist was first and foremost a skilled person, particularly a person who could draw expertly. 你并非天生具备时尚天赋；你只是和我们其他人一样，一个可爱的小白板。你获得个性化技能的方式与你做其他事情的方式一样 - 通过文化压力、实践、实验和经验。甚至莫扎特也必须学会阅读和书写音乐符号，才能认真创作。学习的技能和工艺与拥有清晰的绘画意图以及希望如何绘画同样重要。曾经，艺术家和工匠这两个词实际上是指同一件事情 - 一个艺术家首先是一个有技能的人，尤其是一个能够熟练绘画的人。
On the whole, I agree with this view. (Assuming, of course, an artistic sensitivity is also present.) Clearly, someone who understands tools will be more successful with them than one who does not. Skill and creativity operate as a feedback system, each stimulating the other to higher levels. The more you already know, the better you will understand new things, and then you can do more, and thus know even more, and so on. 总的来说，我同意这个观点。（当然，假设有艺术敏感性存在。）显然，了解工具的人会比不了解工具的人更成功。技能和创造力运作如同一个反馈系统，彼此激发对方达到更高水平。你已经知道的越多，你就会越好地理解新事物，然后你可以做更多，因此了解得更多，依此类推。
As your experience builds, your knowledge and skills will develop. Along with this your confidence will also strengthen. This is the time to switch on your imagination and call upon the many ideas that carried you into art in the first place. The clarity of your envisioning-how sure you are about what you want to see on your canvas-will tell you how to put the paint on it, because it will seem obvious and feel normal. That is what a personal technique is. It arises naturally as you paint, just as your handwriting did, and it will surely include techniques you have adopted from others whose works you admire. Don't worry about being overly influenced though. All great painters learned from other painters. Whatever you do absorb from the Masters, or your teachers (or me in this book), will be tempered in time as you mature and your personality puts it own special spin on things. 随着经验的积累，您的知识和技能将得到发展。伴随而来的是您的信心也会增强。现在是点亮您的想象力并召唤最初让您走进艺术的许多想法的时候了。您对所要在画布上看到的内容有多清晰的构想，将告诉您如何将颜料涂抹上去，因为这将显而易见且感觉自然。这就是个人技巧。它会在您作画时自然而然地产生，就像您的书法一样，并且肯定会包含您从其他您欣赏作品的艺术家那里采纳的技巧。不要担心受到过多的影响。所有伟大的画家都向其他画家学习过。无论您从大师、您的老师（或者是我在这本书中）那里吸收了什么，随着您的成熟和个性对事物的独特理解，这些都会随时间而得到调和。
PASTEL STUDY pastel on paper, 粉彩研究 粉彩纸上作品
oil on canvas, 油画，
GOOD HABITS 良好习惯
A very wise lady, the daughter of a Supreme Court Chief Justice, once remarked to me that for better or worse, there was "nothing quite like watching a professional in action." She knew, having grown up in the world she did, that a professional has a pragmatic mentality. Real pros, whether stone masons or lawyers, do their homework. The methods they use are the best available. They leave as little as possible to chance, and above all, they know what they are doing because they pay attention to experience, and they practice a lot. 一位非常聪明的女士，一位最高法院首席大法官的女儿，曾经对我说过，无论好坏，观察专业人士行动的场景“别有一番风味”。她知道，由于在她成长的世界中，专业人士具有务实的心态。真正的专家，无论是石匠还是律师，都会做好功课。他们使用的方法是最好的。他们尽量减少偶然性，最重要的是，他们知道自己在做什么，因为他们关注经验，并且反复练习。
Here are some of the things I have learned about good working habits and a professional attitude - the hands-on specifics of technique: 以下是我对良好的工作习惯和专业态度的一些看法 - 技术方面的具体操作：
Don't be afraid of your paints and tools. Be in charge. Whether you work with oils, watercolor, pastels, charcoal, acrylic, conté, or all of these-study them! Experiment endlessly, see what they can do and what they can't. Master them rather than the reverse. Try everything you can think of to exhaust their possibilities and overcome their difficulties, if any. Remember and use the things that produce results. 不要害怕你的颜料和工具。掌握主动权。无论你使用油画、水彩、粉彩、木炭、丙烯、康泰或者以上所有的材料-去研究它们！不断尝试，看看它们能做什么，不能做什么。掌握它们，而不是被它们控制。尝试一切你能想到的方法来挖掘它们的可能性，克服它们的困难，如果有的话。记住并运用那些产生效果的方法。
Use the best available tools-especially when it comes to your brushes. Sell your grandmother if necessary, but buy the best you can find. As a matter of policy I do not endorse products, however, in my personal opinion the Rosemary brushes are in a class by themselves. I know Rosemary, and I know she regards her brushes as her art. I agree and have been using them exclusively for several years now. Unlike many of the machine-made brushes sold today, Rosemary's brushes are handmade by skilled artisans in Yorkshire, England. They are competitively priced, durable, and above all, dependable. They always seem to know exactly what I want them to do. For information or a catalogue go to www.rosemaryandco.com. 使用最好的工具-尤其是当涉及到你的画笔时。如果必要的话，甚至可以卖掉你的祖母，但要买到最好的。作为一项政策，我不会背书任何产品，然而在我个人看来，Rosemary 的画笔独树一帜。我认识 Rosemary，我知道她把她的画笔视为艺术品。我同意并且已经专门使用了几年。与今天许多机器制造的画笔不同，Rosemary 的画笔是由英格兰约克郡的熟练工匠手工制作的。它们价格竞争力强，耐用，最重要的是可靠。它们似乎总是知道我想让它们做什么。有关信息或目录，请访问 www.rosemaryandco.com。
Most brush manufacturers like to put something like starch or other water soluble stiffener on the bristles, so they will look well pointed or chiseled while they are on display at an art store. Don't trust they will stay that way after you use them once. Usually you can't tell good ones from cheap ones just by looking at them. Good brushes hold their shape when they are wetted in water (bring your own can of water to the art store to test them if necessary). Don't spend the grandmother money without soaking the ones you wish to buy to see what happens. 大多数刷子制造商喜欢在毛刷上涂抹淀粉或其他水溶性硬化剂，这样它们在艺术店展示时看起来尖锐或雕刻得很好。但不要相信你使用一次后它们会保持那种状态。通常你无法仅凭外观区分好坏。好的刷子在水中浸湿时能保持形状（如有必要，可以自带一罐水到艺术店测试）。在浸泡你想购买的刷子之前，不要花掉奶奶的钱，看看会发生什么。
Bristle brushes should stay flat and well formed wet or dry. (A flat oil bristle brush should have an edge like a carpenter's chisel.) Sable, synthetic, and other soft hair brushes should retain a good shape naturally wet or dry if they are well made to begin with. Never buy brushes that have their edges trimmed for uniform length of the hairs. They are the cheapest of the cheap, and a waste of money. However, you can use them to baste a turkey, or clean between your computer keys. 刷子应该在湿的或干的时候保持平整和形状良好。（一把扁平的油性刷子应该像木工的凿子一样有一个边缘。）貂毛、合成和其他软毛刷子应该在湿的或干的时候自然保持良好的形状，如果它们一开始就做得很好。永远不要购买那些边缘修剪成毛发长度均匀的刷子。它们是最便宜的，是浪费钱。然而，你可以用它们来涂抹火鸡，或者清洁电脑键盘之间的空隙。
Take care of your brushes. Wash them lovingly in mild hand soap. Never use cleansing powders or anything with bleach in it; bleach will dissolve natural brush hairs. Work them over and over until you have a clean white lather (it usually takes me three soapings and rinsings), then rinse them well and shape them for drying. Sable brushes can be shaped with the fingers if necessary. I like to shape a flat bristle brush by folding a small piece of cardboard over the bristles and securing it with a clip (like putting curlers in hair only the "curler" is flat). This sounds like a lot of bother, but it's worth it. 爱护你的画笔。用温和的洗手液温柔地清洗它们。永远不要使用清洁粉或含有漂白剂的东西；漂白剂会溶解天然刷毛。反复用力搓洗，直到产生干净的白色泡沫（通常我需要三次肥皂洗涤和冲洗），然后彻底冲洗干净并整理形状晾干。如有必要，貂毛刷可以用手指整形。我喜欢用一小块硬纸板折叠在刷毛上并用夹子固定来整理扁平刷子的形状（就像给头发卷发卷一样，只是“卷发卷”是扁平的）。这听起来很麻烦，但是这是值得的。
My brushes are my little friends-my slaves actually. They must be in a condition to perform for me. If the bristles or hairs are choked with dried paint where they go into their ferrules, they will lack the "spring" I need, and if they are not evenly shaped at the point, I consider them useless. Working with bad brushes is like playing the piano while wearing boxing gloves. 我的画笔是我的小伙伴，实际上是我的奴隶。它们必须处于能够为我工作的状态。如果毛刷或毛发被干涂料堵塞在它们的箍内，它们就会缺乏我需要的“弹性”，如果它们在尖端形状不均匀，我认为它们是无用的。用坏画笔工作就像戴着拳击手套弹钢琴一样。
During our recent visit to John Singer Sargent's London studio, Nancy and I were quite moved to be in the room where so much beauty was created. Seeing her by the same window, in the same light as Sargent painted under, I realized I was looking at the same problem he faced each time he set out to do a portrait. 在我们最近参观约翰·辛格·萨金特的伦敦工作室时，南希和我感到非常感动，因为我们身处一个创造如此多美丽的地方。看到她站在同一个窗前，被萨金特绘画时的同样光线照射着，我意识到我正在看着他每次着手绘制肖像时所面临的同样难题。
It sounds presumptuous, but I remember thinking as I was painting Croatian Girl (right), that it might have been the way Sargent painted. However, he died nine years before I was born, so I can only make an educated guess about his methods, Also the few words he left us are merely tantalizing hints about what went on in his mind as he worked. 这听起来有些自负，但我记得当我在画《克罗地亚女孩》（右）时，我曾想过这可能是萨金特的画法。然而，他在我出生前九年去世了，所以我只能就他的方法做出合理的猜测。他留给我们的几句话仅仅是对他工作时思维活动的引人入胜的暗示。
Nevertheless, I feel I have reached a stage in my work where I can correctly assume methods of his which I feel are probably true. 然而，我觉得我已经达到了我的工作阶段，我可以正确地假设他的方法，我觉得这可能是正确的。
I know without any doubt he was very careful, and most likely did not paint as rapidly as Sorolla. (Some of his surface brushwork only looks like he did it fast.) I also know he placed his canvas (when he could) as close to his subject as possible in order to constantly compare his painting to his model. He liked to view his painting and model side by side from a distance of probably 8 to 12 feet. 毫无疑问，我知道他非常谨慎，很可能没有像索罗拉那样快速绘画。（他的一些表面笔触看起来只是看起来他画得很快。）我也知道他尽可能将画布放在离主题尽可能近的地方，以便不断比较他的绘画与模特的相似之处。他喜欢从大约 8 到 12 英尺的距离观看他的绘画和模特并排放置。
CROATIAN GIRL oil on canvas, 克罗地亚女孩 油画，
Be generous with your paint. Don't skimp on it. Put enough on your palette for impasto painting and always have your colors arranged in the same order on your palette. Get into the habit of rinsing your brush in mineral spirits (called white spirits in the and other countries), and removing the spirits before dipping into clean piles of pigment so you avoid contaminating your pigments. Use a palette knife to mix large portions of paint. If you work in pastels, use the best, and have a large assortment. Return each to its properly ordered place as you work so you won't have to search when you need the same one again. 慷慨使用颜料。不要吝啬。在调色板上放足够的颜料进行厚涂绘画，并且始终按照相同的顺序排列颜色。养成习惯用矿物油清洗画笔（在 和其他国家称为白酒精），在蘸取干净的颜料前清除油分，以避免污染颜料。使用调色刀混合大量颜料。如果使用彩色粉笔，选择最好的，并准备大量颜色。在工作时将每种颜色放回其正确的位置，这样当需要同一种颜色时就不必搜索。
Keep your palette orderly, and clean it often as you work. I use a razor scraper and denatured alcohol to clean my palette about every twenty minutes or so as I work. Glass palettes clean the easiest and never stain, especially if paint has dried on it. Use lacquer thinner and the razor scraper on dried paint (and have your working area well ventilated). Make sure your palette is large enough for generous mixing too. Don't try to save leftover paint mixtures either. Rarely are they exactly what you need later anyway. 保持调色板整洁，工作时经常清洁。我在工作时大约每隔二十分钟使用剃刀刮板和变性酒精清洁调色板。玻璃调色板最容易清洁，永远不会沾染，尤其是如果颜料已经干在上面。对于干了的颜料，请使用清漆稀释剂和剃刀刮板（确保您的工作区通风良好）。确保调色板足够大，以便进行充分混合。也不要试图保存剩余的颜料混合物。它们很少会正好是您以后需要的。
A clean brush is essential for painting with clean color. To rinse my brushes, I have two large containers (coffee cans) of mineral spirits (or water when I work in gouache and watercolor). I dip my brush into one container, swish it around a lot, then do the same in a second can of cleaner mineral spirits. Then I wipe my brush as thoroughly dry as I can before dipping into a new color. That is how I get clean color in my paintings. It's as easy as that. Later I pour off the dirty mineral spirits into other containers. The paint in the discarded mineral spirits will settle to the bottoms of their containers in only a few days, leaving clear mineral spirits to be used again. I also have plenty of highly absorbent paper towels handy. I buy the most expensive, because they do a better job, and I need fewer of them. 清洁的画笔对于使用干净颜色至关重要。为了清洗我的画笔，我准备了两个大容器（咖啡罐）装有矿物油（或者在使用水粉和水彩时是水）。我把画笔浸入一个容器中，来回搅动一段时间，然后再放入另一个干净的矿物油罐中。然后在蘸取新颜色之前，我会尽可能彻底地擦干画笔。这就是我在绘画中获得干净颜色的方法。就是这么简单。稍后我会把脏的矿物油倒入其他容器中。被废弃的矿物油中的颜料会在几天内沉淀到容器底部，留下清澈的矿物油可以再次使用。我还准备了大量吸水性很强的纸巾。我购买最昂贵的，因为它们效果更好，我需要的数量也更少。
Have a good solid easel, one that is sturdy, large enough, and adjusts easily. In the studio this is usually not a problem. I built my own studio easel many years ago at a time when there were few on the market of any practical value. For outdoor painting, the French-style easels are convenient if you don't work too large, but they tend to blow over easily, and their palettes are small. I painted larger canvases outdoors from life when I was younger, so I needed something I could depend upon to stay put. Fortunately, I found a sturdy army surplus range finder tripod (for three dollars). I made a few metal adaptors to hold a canvas of any size, and it has served me well ever since. Wind is the one big headache in landscape painting. Rain can be managed with a generous umbrella, but not when there is a gale blowing. My tripod easel has never been victim to the wind, even with an umbrella attached to it. 有一个坚固的画架很重要，要结实、足够大，并且易于调节。在工作室，这通常不是问题。许多年前，当市面上实用的画架很少时，我自己建造了一个工作室画架。对于户外绘画，如果画作不是太大，法式画架很方便，但它们很容易被风吹倒，调色盘也比较小。年轻时，我在户外从自然中创作较大的画布，所以我需要一个可靠的画架。幸运的是，我找到了一个坚固的军用测距三脚架（只需三美元）。我制作了一些金属适配器，可以容纳任何尺寸的画布，至今仍然为我服务。风是风景画中的大问题。雨可以用大伞来应对，但在大风的情况下就不行了。我的三脚架画架从未被风吹倒过，即使连接了伞。
Cultivate as many working methods as you can so you may respond to the demands of painting different subjects. Don't expect that an effective way of painting a landscape will work as well for a child's portrait. Learn to paint thickly, thinly, loosely, tightly, quickly, slowly, and so on, according to the requirements and character of your subjects. Strive to expand your repertoire. For no other reason, I work in different ways just for the satisfaction of confounding art critics who, as we know, are never happy unless they can pigeonhole a painter. (I have been variously designated a neo-realist, the last romantic, classicist, and so on.) 尽可能培养多种工作方法，以便能够应对绘制不同主题的需求。不要期望绘制风景的有效方式同样适用于儿童肖像。根据主题的要求和特点，学会厚重、薄弱、松散、紧密、快速、缓慢等绘画技巧。努力扩展你的作品库。出于其他原因，我以不同方式工作，仅仅是为了满足那些艺术评论家的困惑，众所周知，他们除非能够把画家归类，否则永远不会满足。（我曾被称为新现实主义者、最后的浪漫主义者、古典主义者等等。）
Do not consider your painting finished unless it is what you want to see. If you feel you are not skilled enough to see what you would like to see in your paintings, take the time and trouble to find out what it is you need to know, and where you can get the information or instruction to do it. Today there are many more highly accomplished painters giving workshops than there were even a decade ago. There are ways to seek out what you are looking for. The Internet is a marvelous source. Most of the artists I know have websites that give good views of their work, exhibitions, teaching activities, and contact information. Art magazines are also good sources for the same information. 除非你看到的画作符合你的期望，否则不要认为你的画已经完成。如果你觉得自己的技艺还不够娴熟，无法在画作中看到自己想要的效果，那就花时间和精力去了解你需要了解的知识，以及获取这些信息或指导的途径。如今，举办画家工作坊的人比十年前多得多。有很多途径可以找到你所需的信息。互联网是一个了不起的资源。我认识的大多数艺术家都有展示他们作品、展览、教学活动和联系方式的网站。艺术杂志也是获取同样信息的好途径。
For a more complete discussion and analysis of all of my materials, tools, and techniques, see Katie Swatland's book, Alla Prima II: COMPANION, Richard Schmid's Materials, Tools and Techniques, listed in Recommended Reading at the end of this book. 要对我的所有材料、工具和技术进行更全面的讨论和分析，请参阅 Katie Swatland 的著作《Alla Prima II: COMPANION》，Richard Schmid 的《Materials, Tools and Techniques》，这两本书在本书末尾的推荐阅读列表中列出。
RABBITS transparent oil on white lead panel, 兔子透明油在白色铅板上，
This picture demonstrates the remarkable versatility of oil paint. When I brought this image up from my photographic database, I thought at first it was a conté drawing of mine. I can be forgiven my mistake because I did this 21 years ago, but still, using wet oil paint to successfully imitate a dry medium such as conte shows how easily the look of almost all other mediums and their techniques are within the range of oil paint. 这幅画展示了油画的卓越多才多艺。当我从我的照片数据库中找出这幅图像时，起初我以为这是我画的一幅康特画。我可以原谅自己的错误，因为这是 21 年前的作品，但是，成功地使用湿油画来模仿干性媒介如康特笔的效果，展示了油画几乎可以模拟所有其他媒介及其技巧的外观。
THE PALETTE KNIFE 铲刀
A palette knife is an amazingly versatile instrument. In the right hands it can produce effects impossible to achieve with a brush alone. Have two or three of them from one inch to three inches long. Expensive Italian knives are the best. They should be elongated triangles, very flexible, with rounded, not sharply pointed tips. Take care they do not get bent downward with use. They must be flat for control - and don't ever let paint dry on them! 调色刀是一种非常多才多艺的工具。在正确的手中，它可以产生仅用刷子无法实现的效果。准备两到三把，长度从一英寸到三英寸不等。昂贵的意大利刀是最好的选择。它们应该是细长的三角形，非常灵活，带有圆润而不是尖锐的尖端。要注意不要在使用过程中使其向下弯曲。它们必须是平的以便控制 - 绝对不要让颜料在上面干燥！
A palette knife is customarily thought of as a miniature trowel for applying thick smooth-looking paint, also as a tool to mix pigment or scrape it from a canvas. It does all of that, of course, but far more. Perhaps its best function is in creating edges. When the clean flat surface of the knife is drawn across brush work, it produces a unique form of blending-one you cannot duplicate in any other way. Doing it right takes practice because it must be done in a single stroke. 调色刀通常被认为是一种用于涂抹厚润的油漆的小型泥刀，也可用作混合颜料或从画布上刮取颜料的工具。当然，它确实可以做到这一切，但远不止如此。也许它最好的功能在于创造边缘。当刀的干净平整表面划过刷子工作时，它产生一种独特的混合形式-这是您无法用其他方式复制的。做对了需要练习，因为它必须在一次笔触中完成。
Unusual edge effects also happen when the knife is used to carefully scrape away wet paint. I use short scraping motions for this with the knife held very lightly and wiped carefully between strokes. The sharp edge of the blade can be used to modify brushstrokes, or other knife strokes, or to apply razor-thin lines of paint. One caution-when you are applying paint with a knife, usually only one edge of your stroke will be satisfactory (unless you are lucky). That edge will most likely be the point where your blade touches the canvas first. Typically, the remaining edges will have to be modified with subsequent strokes with either a brush or knife. 不寻常的边缘效果也会在用刀小心地刮去湿漆时发生。我用刀轻轻地持刀，刮动作短小，每次刮动作之间要小心擦拭。刀刃的锋利边缘可以用来修改刷触，或其他刀触，或者用来涂抹极细的油漆线。一个注意事项-当你用刀涂抹油漆时，通常只有一条边缘会令人满意（除非你很幸运）。那个边缘很可能是刀刃首次接触画布的地方。通常，剩下的边缘将需要用刷子或刀进行后续涂抹来修改。
There is no limit to what can be done with a knife. The best way I know of to learn how to use it is to lock away your brushes for several weeks and paint only with knives. I warn you it will be extremely frustrating at first, but don't give up. The difficulty is normal. If you haven't used a knife before, you will feel like you are crippled-like a right-hander doing everything with the left hand or vice versa. However, it is worth every ounce of pain and effort. The ability to use a knife well is like having a whole new language. 用刀的可能性是无限的。我认为学习如何使用它的最好方法是将画笔锁起来几个星期，只用刀来绘画。我警告你，一开始会非常沮丧，但不要放弃。困难是正常的。如果你以前没有用过刀，你会感觉自己像是残疾人-就像右撇子用左手做一切，反之亦然。然而，每一分痛苦和努力都是值得的。能够熟练使用刀就像拥有一种全新的语言。
The palette knife is not for everyone. It is such a different way of manipulating paint than brushing, something all of us have been familiar with since childhood. So much about it is just lots of patience and experimentation. It is also best learned by seeing it done, which is why I have been preparing a video on the subject to be made available after this book is completed. 调色刀并非人人皆宜。它是一种与刷子完全不同的操控油漆的方式，而我们从小就对刷子很熟悉。很多时候，这只是需要大量的耐心和实验。最好的学习方法是通过观察他人的操作，这也是我在完成本书后准备制作一段视频的原因。
And please do not underestimate the points of craftsmanship I described above. You may wonder what having a good easel, washing brushes, or having your pigments in a nice order on a glass palette has to do with actually knowing how to paint well. 请不要低估我上面描述的工艺细节。也许你会想知道拥有一个好画架、清洗画笔，或者在玻璃调色板上整齐摆放颜料与颜料有什么关系，与真正知道如何画好画有什么关系。
The answer, dear friend, is as the saying goes: The Secret is in the Details. Great battles and great loves have been won or lost because of attention or inattention to details. Never dismiss them as not having anything to do with success, because they do; just make sure the big picture is always in view. 答案，亲爱的朋友，正如俗语所说：秘密在于细节。伟大的战役和伟大的爱情因对细节的关注或忽视而取得或失去胜利。永远不要认为细节与成功无关，因为它们确实有关；只需确保始终牢记全局。
We know that eloquent painting requires your mind to be filled with knowledge, but it is also a state of mind centered on excellence. When you paint, everything counts, from your inner attitude to the ordinary paper towel you clean your brushes with. 我们知道，雄辩的绘画需要你的头脑充满知识，但它也是一个以卓越为中心的心境。当你绘画时，一切都重要，从你内在的态度到你用来擦拭画笔的普通纸巾。
CASCADE BARN oil on panel, , Washington State, 1996 CASCADE BARN 油画板， ，华盛顿州，1996
This little sketch was done entirely with a palette knife. I had traveled to this site, in the Cascade Range east of Seattle with Nancy, and forgotten to bring mineral spirits. With no way to clean my brushes, I resorted to using a knife, which could be cleaned with a swipe of a rag. Normally, I use a palette knife to merely supplement my brush painting or achieve special effects. Doing the whole thing with a knife was challenging, and the end result very surprising because, with only a knife to work with, I had to find new ways to manipulate my paint. Knife painting is definitely a learning experience, and well worth the effort. I am grateful to have learned this skill while doing my color charts. 这幅小插图完全是用调色刀完成的。我和南希一起前往西雅图东部的卡斯卡德山脉，却忘记带矿物油。没有办法清洗刷子，我只能借助刀子，用一块抹布擦拭即可清洁。通常，我用调色刀仅仅是为了补充我的刷子绘画或达到特殊效果。用刀完成整个作品是具有挑战性的，而最终结果非常令人惊讶，因为只有刀子可用，我不得不寻找新的方法来操控颜料。刀刀绘画绝对是一次学习经历，而且非常值得努力。我很感激在做色彩图表时学会了这项技能。
SKAGWAY TRAWLER oil on canvas, 24 x 36, Alaska, 1993 SKAGWAY TRAWLER 帆布油画，24 x 36，阿拉斯加，1993 年
Skagway Trawler was done with the aid of a close-up photo I shot while cruising about this fog-bound Alaska bay in a leaky rubber dinghy. I also had done an earlier color sketch from a dock at a slightly greater distance. My color study from life was invaluable in compensating for the inherent deficiencies in the photo-particularly in the subtle gradations of color temperature in the misty atmosphere surrounding the boat, and the grays in the water. With situations as sensitive as this, I find it essential to have already painted an identical scene from life. Also, I had painted so many fishing boats from life to use as color references, that the shortcomings in this photo did not matter. Skagway Trawler 是在我乘坐漏水的橡皮艇在这个被雾笼罩的阿拉斯加海湾巡游时拍摄的一张特写照片的帮助下完成的。我之前也在稍远的码头处做过一次彩色速写。我从生活中的色彩研究对弥补照片固有的不足至关重要，特别是在围绕船只的雾气环境中颜色温度的微妙渐变以及水面的灰色。在这种敏感的情况下，我发现已经从生活中画过一次相同场景是至关重要的。此外，我已经从生活中画了很多渔船，用作色彩参考，因此这张照片的缺陷并不重要。
CHAPTER TWELVE-WORKING FROM PHOTOS 第十二章-从照片工作
CRUTCHES OR MODERN PROGRESS? 拐杖还是现代进步？
Technical advancements in photography since I first wrote this chapter fifteen years ago have been breathtaking. The use of Film in cameras is almost, but not quite, extinct. Digital photography of all kinds is here to stay. From complex high tech instruments, to compact point-and-shoot cell phones instantly transmitting worldwide via satellite, all are now deeply embedded within most levels of human culture. (And who knows what marvels await us around the corner?) Pixels, not paint, are now so pervasive in the graphic arts that commercial art and much of what passes for Fine Art today could not exist without it. Painters at all levels of skill seem irresistibly drawn to the lure of electronic photography. 自从我十五年前写下这一章节以来，摄影技术的进步令人惊叹。相机中使用胶片的情况几乎已经消失，但数字摄影却已经成为必不可少的存在。从复杂的高科技仪器到便携式的即时通过卫星传输到全球的手机，各种形式的数字摄影现在已经深深融入到人类文化的各个层面中。（谁又知道未来会有什么奇迹呢？）像素而非颜料如今在平面艺术中如此普遍，以至于商业艺术和今天被视为美术的大部分作品都无法在没有它的情况下存在。各种技能水平的画家似乎都无法抗拒电子摄影的诱惑。
If you feel a teensy-weensy twinge of guilt about using it in your art, you are not alone. There is something about working from photos that raises the hackles of the "pure" artist within many (but not all) of us. Even those painters who freely acknowledge their dependence on photography do so with either an undertone of apology or a carefully framed rationalization. 如果你在创作中使用照片感到一丝微小的内疚，那并不奇怪。对于许多人来说，从照片创作会激起内心那位“纯粹”艺术家的不满。即使是那些公开承认依赖摄影的画家，也会带着道歉的语气或谨慎的理性化来表达。
Some painters categorically reject the use of photos. Others use them according to their needs, but are to varying degrees uncomfortable about using them. Nevertheless, in my experience over years of giving workshops, I have yet to work with those ambivalent toward photos who are inclined to minimize their use and paint from life. Still others regard the whole issue of using photos as primary subject matter to be a non-issue. They view photography as an obviously sensible and rational modern means to an end. And that is fine. We are all free to make the choices we feel work the best for us. Besides, controversy about photos is hardly new. Since the earliest days of photography, a heated debate has centered on the issue of whether or not photography itself could be considered art. That squabble remains to this day, and will surely continue long into the future, along with the questions and views we are considering in this chapter. 一些画家坚决拒绝使用照片。其他人根据自己的需要使用照片，但对使用照片感到不同程度的不舒服。然而，在多年的讲习班经验中，我还没有遇到那些对照片持矛盾态度、倾向于减少使用照片并从生活中绘画的人。还有一些人认为使用照片作为主要题材是一个无关紧要的问题。他们认为摄影是一种显而易见的、理性的现代手段。这是可以接受的。我们都可以自由选择我们认为最适合自己的方式。此外，关于照片的争议并不新鲜。自摄影术诞生以来，围绕摄影本身是否可以被视为艺术的问题一直存在激烈的辩论。这场争论至今仍在继续，将随着我们在本章中考虑的问题和观点而长期延续。
The fact is almost everyone uses photos. Even those who deny it have perhaps privately given it a whirl. Its history is ancient. The first recorded mention of an optic phenomenon producing images from light goes back to China in the fifth century B.C. Identical effects (diffraction) were noticed and recorded by Aristotle as he observed a solar eclipse in 330 B.C. Arab astronomers came upon it as well in the tenth century A.D. 事实上，几乎每个人都使用照片。即使那些否认的人可能私下里也尝试过。它的历史悠久。有关光产生图像的光学现象的第一次记录提到可以追溯到公元前五世纪的中国。相同的效应（衍射）也被亚里士多德注意到并记录下来，他在公元前 330 年观察到日食时。阿拉伯天文学家在公元十世纪也发现了这一现象。
Renaissance Italians used the diffraction principle to create the camera obscura, which at first was simply a darkened room with a small pinhole in one wall. An inverted image from the pinhole was projected onto the opposite wall. That was soon downsized to a darkened box, with a pinhole on one side, and a flat surface opposite to receive an inverted image from the pinhole. Renaissance painters and scientists used such cameras to copy scenes and refine their ideas on perspective. By the time of the Dutch painters, the little black boxes were no longer novelties. There now seems little doubt Vermeer used some form of a refraction camera in creating his works. Eventually, improvements in optics, mechanics, and chemistry gave us improved refraction lenses and film in cameras of the 19th and 20th centuries. The 19th century Naturalist painters depended heavily on photos. Superstars such as Sargent, Sorolla, Zorn and others made free use of the camera, though their use of it was limited. 文艺复兴时期的意大利人利用衍射原理创造了暗箱相机，最初只是一个墙上有一个小针孔的黑暗房间。从针孔处投射出的倒置图像映在对面的墙上。很快，这种相机被改进为一个黑暗的盒子，一侧有一个针孔，对面有一个平面表面，用于接收来自针孔的倒置图像。文艺复兴时期的画家和科学家使用这样的相机来复制场景，并完善他们对透视的理念。到了荷兰画家的时代，这些小黑盒子已不再是新奇的东西。现在几乎没有疑问，维梅尔在创作他的作品时使用了某种形式的折射相机。最终，光学、机械和化学方面的改进为我们带来了 19 世纪和 20 世纪相机中的改进的折射镜头和胶片。19 世纪的自然主义画家在很大程度上依赖照片。像萨金特、索罗拉、佐恩等超级明星自由地使用相机，尽管他们对相机的使用受到限制。
It should be remembered photos in the early days were rudimentary monochrome images at first, and remained crude at best when artists first started using them. Interestingly, most of those who used them were already well grounded in drawing and painting (and clearly did not require any help from photography). I can only speculate that artists' natural curiosity was awakened, which probably stimulated an urge to give the new images a try (thus letting the genie out of the bottle). It must have been fascinating to observe how painters incorporated a camera image into the process of painting. When you see the photos those earlier artists had to work with along with the resulting paintings, it is obvious how great a factor their drawing and painting skills were in gleaning what they did from such sparse information. 应该记住，早期的照片起初是基本的单色图像，当艺术家们开始使用它们时，它们仍然粗糙不堪。有趣的是，大多数使用它们的人已经在绘画和绘画方面有了扎实的基础（显然并不需要摄影的帮助）。我只能推测艺术家们的自然好奇心被唤醒，这可能激发了一种试图尝试新图像的冲动（从而让瓶中精灵逃出来）。观察画家如何将相机图像融入绘画过程肯定是令人着迷的。当您看到那些早期艺术家必须处理的照片以及最终的绘画时，很明显他们的绘画和绘画技能在从如此稀疏的信息中获取所需内容方面起了多么重要的作用。
Finally, it is also important to note that many, but certainly not all, of the paintings resulting from those photos were rendered as much as was possible to look as if they were done from life. This is particularly true of the Masters of Direct Painting, such as Sargent and Zorn. However, as far as I know, Sargent made minimal use of photos as aids in a few of his landscape studies. Zorn, on the other hand, used monochrome photo prints for a number of his etchings and watercolors, demonstrating again the role of skill and long experience in working from life. I have often wondered too if Zorn's actual reasons in using photos for certain etchings and paintings might have been simple compassion. After all, many of the naked ladies who posed for him did so up to their hips in the icy waters of a Swedish lake. That, however, does not explain the other works from photos done indoors. 最后，还要注意的是，许多照片衍生的绘画作品，尽可能地被渲染得看起来像是栩栩如生。这在直接绘画大师，如萨金特和宗恩身上尤为明显。然而据我所知，萨金特在一些风景研究中最小程度地使用了照片作为辅助。另一方面，宗恩则在一些蚀刻和水彩画中使用单色照片印刷，再次展示了技巧和长期经验在栩栩如生作品中的作用。我经常也在想，宗恩在为某些蚀刻和绘画使用照片的实际原因可能很简单，即出于同情。毕竟，为他摆姿势的许多裸体女士是在瑞典湖的冰水中到腰部的。然而，这并不能解释室内拍摄的其他作品。
WHY HAS RELIANCE ON PHOTOGRAPHY BEEN CALLED A CRUTCH? 为什么依赖摄影被称为一种拐杖？
Because sometimes it really is like a crutch, but only literally so when it is used as a substitute for a basic skill, or to avoid an essential effort. The word crutch may be unfortunate because it can sound as if it were a judgment upon artists who use photos. It suggests they might be lazy or somehow lacking in talent. Implications such as those are both presumptuous and unfair. Photos are a godsend for those who do not have the opportunity to work from life, or who were not as lucky as I was to do life studies from my beginnings under a master of direct painting. 因为有时候它真的就像拐杖一样，但只有在它被用作基本技能的替代品，或者为了避免必要的努力时才是如此。"拐杖"这个词可能不太幸运，因为听起来好像在评判使用照片的艺术家。它暗示他们可能懒惰或在某种程度上缺乏才华。这样的暗示既是专横的，也是不公平的。对于那些没有机会从生活中工作的人来说，照片是一种救星，或者像我一样没有幸运从一位直接绘画大师那里开始生活研究的人来说。
Photos can bring a world of subject matter to the disabled, like my artist friend, Marcus Thomas, who was left without the use of his arms, hands, and legs, from a tragic accident in 1986. Not a man to just give in, Marcus taught himself to draw and paint with a brush held in his teeth. Today, he makes a living painting from his wheelchair (actually an ingenious studio on wheels). He describes his use of photos as a partnership between those images and his imagination. In his new book, FLIGHT OF THE MIND - A Painter's Journey Through Paralysis (2012), Marcus speaks over and over of endless possibilities awaiting an invitation into our lives (amazing for a guy who can only move his head, and one shoulder). As he says, "If your mind becomes bored with your heart, you are defeated." 照片可以为残疾人带来丰富的主题，就像我的艺术家朋友马库斯·托马斯一样，他在 1986 年发生一场悲剧事故后失去了双臂、双手和双腿的运动能力。马库斯并不是一个轻易放弃的人，他自学用牙齿握着画笔画画。如今，他靠坐在轮椅上（实际上是一个巧妙的移动工作室）谋生。他描述自己使用照片是那些图像和他的想象力之间的合作关系。在他的新书《心灵的飞翔-一个画家通过瘫痪的旅程》（2012 年）中，马库斯一再谈到等待邀请进入我们生活的无尽可能性（对于一个只能动动头和一个肩膀的人来说，这是令人惊叹的）。正如他所说，“如果你的头脑对你的心灵感到厌倦，你就失败了。”
Norman Rockwell, who was not handicapped, commented about his own well-known extensive use of photos by pointing to his early academic training in painting and drawing as a necessity in working with them. He too emphasized the vital importance of combining photos with competent drawing and creative ideas. Clearly then, in combination with an artist's technical savvy, the camera and the many other graphic aids are undeniably useful. Therefore, since the reality of photography's ubiquity is with us to stay, we should at least look at what it is, what it is not, and how best to handle it in a balanced way. Here are some pros and cons. 诺曼·洛克威尔（Norman Rockwell）并非残疾，他谈到自己广泛使用照片的做法时指出，早期在绘画和素描方面的学术训练对于与照片合作是必要的。他也强调了将照片与熟练的绘画和创意想法结合的重要性。显然，相机和许多其他图形辅助工具在与艺术家的技术智慧相结合时无疑是有用的。因此，由于摄影的现实无处不在，我们至少应该看看它是什么，它不是什么，以及如何以平衡的方式处理它。以下是一些利弊。
THE PROS: 专家们：
Photos are often the only way we can have access to certain subjects. Even though it is a comparatively limited access, it is better than none at all. It allows us access to subjects impossible to paint from life - a posthumous portrait, such as Mavoureen on page 88, is an obvious example. (We can't bring the dead back to life and have them sit for us, at least not yet.) Insufficient painting time also prevents painting from life. There are subjects which move too fast-children, sports, animals, etc. Other subjects exist as very brief visual effects. Often we would like to paint a certain subject, but there is no vantage point from which to set up and paint. Other circumstances, such as traffic, private property issues, terrain, wild animals, and so on, make it impossible to set up our painting equipment. 照片通常是我们能够接触到某些主题的唯一方式。尽管这种接触相对有限，但总比没有好。它使我们能够接触到无法从生活中绘制的主题 - 例如第 88 页上的 Mavoureen 的遗像是一个明显的例子。（我们无法让死者复活并为我们坐下，至少目前还不能。）绘画时间不足也阻止了从生活中绘画。有些主题移动得太快 - 儿童、运动、动物等。其他主题存在着非常短暂的视觉效果。我们经常想绘制某个主题，但却没有适合设置和绘画的视角。其他情况，如交通、私人财产问题、地形、野生动物等，使我们无法设置绘画设备。
The two paintings I did inside Saint Peter's Basilica in Rome (The Altar, page 177, and opposite, Communion, page 283), are good examples. The use of cameras inside that holy place is strictly forbidden. However, I managed to shoot several rolls of 120 film, using a bulky Hasselblad under my jacket, without the guards noticing, or myself being struck by lightning from above. (I felt the Lord forgave me, seeing as how I was an altar boy at Saint Hilary's for three years.) A camera brings those otherwise inaccessible subjects within our reach. 我在罗马圣彼得大教堂内完成的两幅画作（《祭坛》，第 177 页，对面的《圣餐》，第 283 页）是很好的例子。在那个神圣的地方内使用相机是严格禁止的。然而，我设法在我的夹克下使用笨重的哈苏相机拍摄了几卷 120 胶卷，而没有被卫兵注意到，也没有被上方的闪电击中。（我觉得主原谅了我，因为我在圣希拉里教堂当了三年的祭坛男孩。）相机让那些本来无法接触的主题变得触手可及。
COMMUNION oil on panel, 8 x 12, St. Peter's Basilica, The Vatican, Rome, 1969 圣餐 油画 面板 8 x 12 圣彼得大教堂 梵蒂冈 罗马 1969
This small color sketch is the same altar in St. Peter's Basilica as in the larger watercolor painting on page 177. This version is closer to the darker lighting in St. Peter's when I was doing my photography there. My decision to make the watercolor lighter was mostly based on the fact that watercolor shows up best when the majority of the picture area is not extremely dark (as it was in my photograph). Watercolor dries flat, which is not a problem in the light and middle tones. Oil paint is a far better choice for pictures with lots of darks because of the nature of oil paint to respond well with deeply transparent darks. 这幅小色彩速写是圣彼得大教堂中的同一祭坛，就像第 177 页上更大的水彩画一样。这个版本更接近我在那里拍摄照片时圣彼得大教堂较暗的照明。我决定让水彩画变得更轻主要是基于水彩在画面大部分区域不是极端黑暗时效果最好（就像我的照片中那样）。水彩干燥后是平坦的，这在明亮和中间色调中不是问题。油画是在画面有很多黑色部分时更好的选择，因为油画对深度透明的黑色有很好的反应。
There are a great number of artists in this world with special needs. For most of them, painting from life is not realistically possible or even desirable. For the latter, photos or any other images for that matter, are merely references in producing various types of art which are realistic in an interpretive way rather than representational as Rembrandt's or Nancy Guzik's are. Many others are people who are just plain shy about painting in public, or whose natural painting speed, or other routines such as raising little kids or earning a living will not allow it. And of course as I mentioned earlier, there are the physically handicapped, but also those confined by medical conditions which rule out the demands of working from life as they might wish to. And then there are the incarcerated. I have had many letters over the years from individuals in prison who are allowed to paint. All of these and a great many others could never experience the joys of creating art at all without the use of photography. 在这个世界上有很多有特殊需求的艺术家。对于他们大多数人来说，现场写生实际上并不现实，甚至不可取。对于后者来说，照片或其他任何图像只是在以一种解释性的方式而不是如伦勃朗或南希·古兹克那样具象化地制作各种类型的艺术作品时的参考。许多其他人只是害羞于在公共场合绘画，或者他们天生的绘画速度，或者其他日常例行事务，比如照顾小孩或谋生，都不允许他们这样做。当然，正如我之前提到的，还有一些身体残障者，但也有一些受医疗条件限制，无法按照他们所希望的方式从生活中工作。然后还有那些被监禁的人。多年来，我收到了许多来自监狱里被允许绘画的个人的来信。所有这些人以及其他许多人如果没有使用摄影，就永远无法体验到创作艺术的乐趣。
Photos for me are like a security blanket. I take several bracketed shots before starting a painting in case my model suddenly drops dead, or an earthquake suddenly destroys the landscape I have started. Seriously, there are countless reasons why a painting attempt can be interrupted or terminated before completion. Photos are also a fast and convenient way to record subjects to be painted later, and they can also act as a supplement to working from life. Often when I paint with my friends, I become so involved in teaching I neglect to finish my own sketch, so completing it later from a photo is usually the only option. It is certainly better than memory at my age (uncomfortably close to 80 ). 照片对我来说就像一件安全毯。在开始绘画之前，我会拍摄几张不同曝光的照片，以防我的模特突然倒下，或者一场地震突然摧毁了我已经开始的风景。说真的，绘画尝试可能在完成之前被中断或终止的原因有很多。照片也是记录待绘制主题的快速便捷方式，它们也可以作为从实物作品中获取灵感的补充。通常当我和朋友一起绘画时，我会沉浸在教学中而忽略完成自己的素描，所以之后从照片中完成它通常是唯一的选择。对我这个年龄（接近 80 岁）来说，这绝对比依靠记忆要好。
When I know I am unable to complete a work in one session, I make color notes, brushstrokes of colors, in the unfinished areas of my painting where I know it is unlikely my photo can accurately capture the very light and dark tones. In addition, a photo is handy as a reference for touch-up work, and other details for corrections. They are far better than just trying to remember. Neither of the choices, memory or photography, are perfect, but they do beat guesswork or faking it. Depending on the sophistication of your camera, and your lens settings, a digital photograph can now provide as much detail as film did. Ironically, that very over-abundance of detail is one of the problems photos present, because it is much more detail than we humans see or need. 当我知道我无法在一个会话中完成一项工作时，我会在绘画的未完成区域做彩色笔记，用颜色的笔触，我知道我的照片很难准确捕捉到非常明亮和暗的色调。此外，照片作为修补工作的参考以及其他细节的修正是很方便的。它们远比仅仅试图记住要好。记忆或摄影这两种选择都不完美，但它们胜过猜测或假装。根据您相机的复杂程度和镜头设置，数字照片现在可以提供与胶片一样多的细节。具有讽刺意味的是，照片呈现的细节过多，这是照片存在的问题之一，因为这比我们人类看到或需要的细节要多得多。
I find photos are useful for gathering ideas and details I'd like to paint later from life, or as informational sources I can use in the same way as a quick sketch. I'll never know how many scenes I saw while walking in New York, or viewed outside my window, or seen after a snowfall, and never bothered to take a quick photo as a reminder to go back and do a painting. I must have thousands of those incomplete memories-actually mere impressions now. 我发现照片对于收集我想以后从生活中绘制的想法和细节非常有用，或者作为信息来源，我可以像快速素描一样使用。我永远不会知道在纽约散步时看到了多少场景，或者从窗外看到了什么，或者在下雪后看到了什么，却从未费心拍一张快照作为回去绘画的提醒。我一定有成千上万个这样的不完整记忆，实际上现在只是一些模糊的印象。
Photos have been invaluable as well as references to verify or rectify ornamental features I painted loosely from life. For example, when I painted Abbotsford, the historic manor house of Sir Walter Scott in Scotland last year (in the pouring rain), I took numerous close-up photos of distinctive motifs and figurations, such as stonework, carvings, stained glass, stone tracery, ironwork, and tiles. Since I painted the overall structure from a distance of about ninety yards from the main turrets (and not having the best eyesight), I needed the information in those close-ups to ensure architectural fidelity. 照片对我来说是无价的参考，可以验证或纠正我从生活中随意描绘的装饰特征。例如，去年我在苏格兰为沃尔特·斯科特爵士的历史庄园阿伯茨福德绘画时（当时正下着倾盆大雨），我拍摄了许多特色图案和图像的特写照片，比如石雕、雕刻、彩色玻璃、石制花饰、铁艺和瓷砖。由于我是在离主塔楼约九十码远的地方绘制整体结构（而且视力不是很好），我需要这些特写中的信息来确保建筑的忠实再现。
Every so often when I decide to make changes in a painting, I do them on a digital photo of my work on a computer monitor. It's so much better than the days of using tracing paper, photostats, and acetate or plastic wrap overlays. I can take a picture of my sketch or larger work in question, download it to my computer, and I'm ready to play. I can experiment endlessly with corrections and adjustments to the computer image without ever touching the painting itself-not until I see on the monitor exactly what changes I wish to make. Before computers, amending artwork, particularly oil paintings could be risky business. Unless I knew precisely what changes to make, and more importantly, exactly how to make them, I could very easily make things worse, or wreck the whole painting in the process of trying this and that speculatively. 偶尔当我决定对一幅画进行更改时，我会在电脑显示器上的作品的数字照片上进行操作。这比使用蒙皮纸、照相复印和醋酸盐或塑料包覆的日子要好得多。我可以拍摄我草图或需要修改的较大作品的照片，将其下载到电脑上，然后就可以开始操作了。我可以在电脑图像上无限尝试更正和调整，而不必直接触摸画作本身，直到我在显示器上看到我希望进行的更改。在计算机出现之前，修改艺术作品，尤其是油画，可能是一项冒险的事业。除非我确切地知道要进行哪些更改，更重要的是，确切地知道如何进行这些更改，否则我很容易使情况变得更糟，或者在试验性地尝试这样或那样的过程中毁掉整幅画。
NANCY AND THE SWANS (right) oil on canvas, , Wales, 2000 南希和天鹅（右）油画布， ，威尔士，2000
The need for good photos coupled with experience in painting from life is clear in these two images. WOOD IBIS (below) called for judgments in creating images to express movement. 这两幅图清晰地展示了对优秀照片的需求，结合从生活中绘画的经验。《木鹮》（下图）需要在创作形象时做出判断，以表达运动。
NANCY AND THE SWANS was a very complicated painting in which I selected from a dozen or so photos of the swans to group them in an interesting way. I also altered the atmospheric mood of the painting. Here it is obvious I could never have created the very authentic look I wanted without having had years of experience painting identical situations from life. 《南希和天鹅》是一幅非常复杂的画作，我从十几张天鹅的照片中挑选出来，以一种有趣的方式将它们分组。我还改变了画作的大气氛围。很明显，如果没有多年从生活中绘制相同情景的经验，我永远无法创造出我想要的非常真实的外观。
WOOD IBIS (above) charcoal and pastel on paper (Detail), Everglades, Florida, 1970 木鹮（上）1970 年佛罗里达州恒沼湿地，纸上木炭和粉彩 （细节）
CARRIAGES AT THE PLAZA oil on canvas, , Manhattan, 1987 广场上的马车 油画 布面， ，曼哈顿，1987
In working with digital photos, I use Photoshop, the professional imaging program. With it I can see my painting enlarged, reduced, reversed, upside down, distorted, lighter, darker, in other color variations, and almost any other changes I could dream up. I can do all of that to my entire painting's image, or to just one pixel. If you are not familiar with Photoshop or another imaging program, you can still use computer features such as View and Tools and Crop when you bring a photo to your monitor. They will perform most of the zooms, sizing, reversals, color changes, brightness, and so on as the professional imaging systems. It is a good idea too when working with images strictly for making painting changes, to have the resolution at a moderate level (100-150dpi). Very high resolutions create large files and slow down the imaging response. Save the high resolution photos (400-2000dpi) for your archives on DVDs or external drives. And oh yes, make a habit of working on a duplicate of your photo. Keep the original shot untouched just in case. 在处理数字照片时，我使用专业的图像处理程序 Photoshop。通过它，我可以将我的绘画放大、缩小、翻转、颠倒、扭曲、变亮、变暗、以其他颜色变化呈现，几乎可以实现我能想象到的任何其他变化。我可以对整个绘画图像进行所有这些操作，也可以只针对一个像素进行操作。如果您不熟悉 Photoshop 或其他图像处理程序，当您将照片带到显示器时，仍然可以使用计算机功能，如查看、工具和裁剪。它们将执行大部分缩放、调整大小、翻转、颜色变化、亮度等操作，就像专业的图像处理系统一样。在仅用于进行绘画更改的图像处理时，最好将分辨率保持在适度水平（100-150dpi）。非常高的分辨率会创建大文件并减慢图像处理的响应速度。将高分辨率照片（400-2000dpi）保存在 DVD 或外部驱动器上以备档案。还有，养成在照片的副本上工作的习惯。保留原始拍摄照片不动，以备不时之需。
IMPORTANT NOTE 重要提示
Please bear in mind as you read what follows below in CONS, that my comments stem from my personal conviction that the word ART encompasses a vast range of art forms, each with its levels of difficulty, and magnitudes of achievement. In the same way chess is certainly a greater challenge than tic-tac-toe, so too painting from life demands more and rewards more. In the kind of bravura painting I have been describing in this book, the challenge lies in the skills I can bring to bear in meeting the difficulties and depth of ideas in my primary subject matters. I truly believe that for myself, the greatest technical and artistic test is painting real life as it is happening. When I feel I have been successful, I regard what I have done as belonging in a class by itself, unmatched, because I have experienced and captured a genuine human experience. I can't imagine anything else being quite the same. 请记住，在阅读以下 CONS 时，我的评论源自我个人的信念，即艺术一词涵盖了广泛的艺术形式，每种形式都有其不同的难度和成就程度。就像国际象棋肯定比井字游戏更具挑战性一样，从生活中绘画也需要更多的努力并带来更多回报。在我在这本书中描述的那种华丽绘画中，挑战在于我能够运用的技能，以应对我主要主题中的困难和深度思想。我真诚地相信，对我来说，最大的技术和艺术考验是描绘正在发生的真实生活。当我觉得自己成功时，我认为我所做的属于独一无二的一类，无与伦比，因为我经历并捕捉到了真实的人类体验。我无法想象还有其他任何事情会完全相同。
THE CONS: 缺点:
When using photos as the primary (or only) source of subject matter, it is vital to remember cameras are recording devices, not experiencing devices. A photo is the product of a machine which simply makes an impassive visual record according to how it is set, of whatever it has been designed to record of whatever it is pointed at. Unlike us, it does not think or feel, and therefore cannot record the way you or I see a subject. No camera was ever terrified while snapping a shot of an oncoming train, or ducked bullets in combat, and no camera was ever in love with the person whose picture it took. Cameras do not get emotionally involved, do not have attitudes, philosophies, or opinions, and they don't get angry when their pictures don't turn out. They are technically smart, but life-dumb instruments. They feel nothing, and have no understanding of what they record. 当将照片作为主要（或唯一）主题的来源时，重要的是要记住相机是记录设备，而不是体验设备。照片是机器的产物，它只是根据设置方式制作一份冷漠的视觉记录，记录它被设计为记录的任何事物，或者它所对准的任何事物。与我们不同，它不会思考或感受，因此无法记录您或我看待主题的方式。没有相机在拍摄迎面而来的火车时感到恐惧，也没有在战斗中躲避子弹，也没有爱上拍摄的人。相机不会情感参与，没有态度、哲学或观点，当它们的照片拍摄不成功时也不会生气。它们在技术上很聪明，但在生活上愚蠢。它们感觉不到任何东西，也不理解它们所记录的内容。
Wonderful pictures can be painted solely from photos, but they will not be the same as working from the real thing. Why? Because photographs cannot capture the countless other stimuli experienced in painting from life - the camaraderie of working in a group, the living presence of a model, the myriad sounds and sensations of the outdoors or the mood of studio light, the pressures of time and shifting conditions, and my own sweaty excitement in capturing what is happening. In the beginning there were many disappointments in learning to paint life, but in time, as I learned from my mistakes, my results became satisfactions. After that they became far deeper experiences. 仅仅依靠照片就可以绘制出精彩的画作，但与直接从实物作品中创作不同。为什么呢？因为照片无法捕捉到绘画实物时所经历的无数其他刺激 - 在团体中共同创作的友情，模特的生动存在，户外的各种声音和感觉或工作室灯光的氛围，时间和环境的变化压力，以及我自己在捕捉所发生的事情时的激动心情。开始学习绘画实物时遇到了许多失望，但随着时间的推移，当我从错误中学到东西时，我的成果变得令人满意。之后，它们变成了更加深刻的体验。
I never dismiss the powerful effect of my environment, my personal state, or the intimate reciprocity between myself and my subject. All of those forces and more, combined with my skills, literally dictate the way I paint from life, and it is never the same from one time to the next. This way of creating art is never predictable. Sometimes it is a struggle, other times a joyride. Whatever the case, it is always a sink-or-swim situation, and never boring. Because of this, the results of working from life are, for better or worse, at least evidence of a real personal experience. At best, using a photo as the only source for a painting is a second-hand substitute for a human experience, and can only be supplemented with memory and guesswork. 我从不忽视环境的强大影响力，也不忽视个人状态，以及我与主题之间的亲密互动。所有这些力量以及更多因素，再加上我的技能，实际上决定了我如何从生活中绘画，而且每一次都不相同。这种创作艺术的方式是不可预测的。有时是一场挣扎，有时是一次愉快的旅行。无论情况如何，这总是一个非常关键的情况，从不无聊。正因为如此，从生活中创作的结果，无论好坏，至少是真实个人经历的证据。最好的情况下，仅凭照片作为绘画的唯一来源是对人类经历的二手替代品，只能通过记忆和猜测来补充。
Cameras do not give a true technical picture of what you and I see, at least not yet. They never will until the operational chips in cameras are made to have psychic capabilities which can read our minds and then select from the plethora of information in a subject only the elements we experience, and only in the ways we experience them. Today's cameras are engineering marvels indeed, but they only record what they are designed by manufacturers to record, and that is both qualitatively and quantitatively different from what we humans can record with our eyes and minds. Except for capturing detail, which they are good at (better than we are), cameras are remarkably limited. The sensitivity of both photographic film and electronic sensors is trifling compared to our human sensitivity. The color and value latitude of film and sensors are only a tiny fraction of what our eye-mind team sees. The equivalent drawbacks and limitations exist with digital scanning devices. 相机无法真实地呈现你我所看到的画面，至少目前还不行。除非相机中的操作芯片具备能够读取我们思维的心灵能力，然后从主体中的大量信息中仅选择我们经历的元素，并且仅以我们经历的方式呈现。今天的相机确实是工程奇迹，但它们只记录制造商设计的记录内容，这在质量和数量上与我们人类用眼睛和头脑记录的方式有着明显的差异。除了捕捉细节（这方面它们做得比我们好），相机的功能非常有限。与我们人类的敏感性相比，无论是照相胶片还是电子传感器的灵敏度都微不足道。照相胶片和传感器的色彩和值域仅是我们眼睛和头脑团队所看到的一小部分。数字扫描设备也存在类似的缺陷和限制。
Above a certain lightness everything in a photo is washed-out white. Below a given darkness it is all the same unidentifiable color (which is one reason why photos disappoint us). "Bracketing" helps (taking several different exposures of the same shot), but even then, we can never see the extremes of brightness or darkness in their true colors and values simultaneously. There is also the frustrating fact that no matter how sophisticated our equipment or photographic skill, we never know exactly what we will or will not capture at the moment we trip the shutter. 在某种亮度以上，照片中的一切都变成了洗白的白色。在给定的黑暗度以下，一切都是同一种无法识别的颜色（这也是照片让我们失望的原因之一）。"曝光补偿"有所帮助（拍摄同一景物的几种不同曝光），但即使如此，我们也永远无法同时看到亮度和黑暗度的极端真实颜色和价值。令人沮丧的事实还在于，无论我们的设备或摄影技术有多么先进，我们永远不知道在按下快门的那一刻我们会捕捉到什么或不会捕捉到什么。
Working from digital images (TV and computer monitors) is all the rage now. They are more accurate to work from than printed photos, because the colors and values, though far from perfect, are at least better. They are more fun too because the pictures can be manipulated with graphic imaging programs in helpful and entertaining ways. However, digital monitors, whether the big screen in your living room, or the cell phone in your pocket, are limited in respect to colors and values in their own way just as film or digital cameras are. For example, beyond a given light value the screen simply goes all white, and there is no true black unless the TV set or monitor is switched off completely in a completely darkened room. 从数字图像（电视和计算机显示器）工作现在非常流行。与印刷照片相比，它们更准确，因为颜色和价值虽然远非完美，但至少更好。它们也更有趣，因为图片可以通过图形成像程序以有益和娱乐的方式进行操作。然而，数字显示器，无论是您客厅的大屏幕还是口袋里的手机，在颜色和价值方面都有自己的局限性，就像胶片或数码相机一样。例如，超过给定的光值后，屏幕就会变成全白，除非电视机或显示器在完全黑暗的房间里完全关闭，否则就不会有真正的黑色。
At a recent seminar on this subject, the Master painter, Dan Gerhartz, correctly observed that painting from life is much easier than painting from photos, because you don't have to fake anything. 在最近关于这个主题的研讨会上，大师画家丹·格哈茨（Dan Gerhartz）准确地观察到，从实物绘画要比从照片绘画容易得多，因为你不必伪造任何东西。
If your experience is like mine, or those I paint with, you have probably had admiring friends compliment your painting by saying how very real it looks. "It's just like a photograph," they will say. Dear Lord, I never had the heart to tell them as far as I was concerned, equating my painting with a photo is probably the worst choice of words they could have made. Every artist to whom I have mentioned this agrees with me. When our efforts are characterized, however naively, as being photographic, it is always a bit irksome. I suspect the reason lies in the fact that serious painters have traditionally been viewed as fortunate individuals endowed with creative abilities, such as knowing how to draw, which most other humans do not enjoy. "I can't even draw a straight line," is the familiar and slightly sad phrase. Well I'm not so good at doing straight lines either, but I do try very hard indeed to make my paintings touch others as no photograph ever could. 如果你的经历和我的一样，或者和我画画的人一样，你可能曾经有过仰慕的朋友称赞你的画说它看起来非常真实。“就像一张照片一样”，他们会说。天啊，我从来没有勇气告诉他们，就我而言，把我的画和照片相提并论可能是他们能做出的最糟糕的选择。我提到这一点时，每位艺术家都同意我的看法。然而，当我们的努力被描述为具有摄影特性时，无论多么天真，都会让人有点恼火。我怀疑原因在于严肃的画家传统上被视为拥有创造能力的幸运个体，比如懂得如何绘画，而大多数其他人却没有这种享受。“我甚至连一条直线都画不好”，这是熟悉而略带悲伤的短语。嗯，我也不太擅长画直线，但我确实非常努力地让我的画触动他人，就像照片永远无法做到的那样。
I admit I'm old-fashioned (and old), but having a passion for great art is old-fashioned too, and by no means reserved for the young. Falling in love is hardly modern (thank you, Shakespeare), or helping others, or just being a decent human being (read the Roman Stoic philosophers). All of our most cherished values are old-fashioned because they were refined out of generations of human experience. So there is a certain well-deserved and healthy pride in belonging to a timeless fraternity of painters distinguished for their highly developed skills, rather than merely how photographically realistic images can be made to look. As I pointed out earlier in this book and elsewhere, with the kind of painting we are dealing with here, the way things look is just the beginning. It is the first door of many others opening in welcome. 我承认我有点守旧（而且老了），但对伟大艺术的热情也是守旧的，绝非年轻人的专利。坠入爱河并不算现代（感谢莎士比亚），帮助他人或者做一个体面的人也不算现代（读读罗马斯多亚哲学家的著作）。我们最珍视的价值观都是守旧的，因为它们是在几代人的人类经验中得以完善的。因此，属于一个永恒的画家团体，以其高度发展的技能而著称，而不仅仅是图像能多逼真地看起来，这是一种理所当然的健康自豪感。正如我在本书和其他地方所指出的，对于我们在这里讨论的绘画类型，事物的外表只是一个开始。这只是迎接许多其他门的第一扇门。
MOUNTAIN PHEASANT (Immature), oil on canvas, 山鹧鸪（幼鸟），油彩画，
Paintings done from photos are easily recognized as such. Often they appear to be very tightly detailed renderings. This is because most cameras focus sharply unless set otherwise, which means the images artists must use will have lots of details. Also, the entire area of a photo will generally show detail in focus, whereas our eyes, as described earlier, focus only within the small center of sight called the macula. We cannot focus in the peripheral areas of our vision. 从照片绘制的画往往很容易被识别出来。通常它们看起来是非常紧密详细的渲染。这是因为大多数相机会自动对焦，除非另有设置，这意味着艺术家必须使用的图像会有很多细节。此外，照片的整个区域通常会显示焦点细节，而我们的眼睛，如前所述，只会在被称为黄斑的小视野中心内聚焦。我们无法在视野的外围区域聚焦。
Another telltale marker is that the subject or an aspect of it could not possibly have been done from life. (It doesn't take a genius to see that a deer leaping in midair, with each hair on its body precisely rendered, could not possibly have been posed.) Too much detail is also a giveaway because painting from life will not allow it. (Deer cannot fly yet, nor hover like a helicopter.) Other tip-offs are a characteristic lack of selectivity-painting everything, including the deficiencies in a photo (such as overexposure and a lack of color in the darks). 另一个显著的标志是，主题或其某个方面不可能是栩栩如生地完成的。（不需要天才就能看出，一只在半空中跳跃的鹿，身上每根毛发都被精确地描绘出来，显然不可能是摆拍的。）过多的细节也是一个线索，因为从生活中绘画是不允许的。（鹿不能飞，也不能像直升机一样悬停。）其他提示是特征性的缺乏选择性 - 绘制一切，包括照片中的缺陷（如过曝和暗部缺乏色彩）。
On the other hand, an overabundance of detail is not necessarily a handicap, at least not with some buyers of art. For them it is an express requirement. Many collectors prefer photographic-looking, highly detailed pictures, particularly those who collect authentic renditions of specific subject matter. For example, while paintings of the American West have always been popular, some collectors buy only certain categories of that genre. Typical examples are: Cowboys on horses, Cattle stampedes, Cowboys in yellow slickers, Indians in a wide variety of situations and dress, Rodeos, the U.S. Cavalry, the Old chuck wagon, Roping a calf, etc. Less common are Cowgirls or the pioneer wife behind a plow. 另一方面，过多的细节并不一定是一个障碍，至少对一些艺术品买家来说不是。对他们来说，这是一个明确的要求。许多收藏家更喜欢看起来像照片般细致的画作，特别是那些收集特定主题真实再现的人。例如，虽然美国西部的画作一直很受欢迎，但一些收藏家只购买该流派的某些类别。典型的例子包括：骑马的牛仔、牛群奔逃、穿着黄色雨衣的牛仔、各种情境和服饰的印第安人、牛仔竞技表演、美国骑兵、旧式牛车、捕捉小牛等。较少见的是牛仔女或者在犁后面的拓荒者妻子。
Similar practices of collecting by category are seen with aviation art, military and war stuff, vintage automobiles, old sailing ships, rainy street scenes of Paris, pinup girls, champion dogs and cats or horses, and so on. In most cases, the collector and artist (or artists) form a kind of symbiotic relationship where both parties share an interest in say, football, where one paints pictures of memorable touchdowns or players at a bloody moment of impact, and the other guy buys the pictures. This almost limitless demand tends to encourage the use of photos because the market, however naive, is very lucrative. In many cases the only sources to work from are photos. I believe what I have described above is more about satisfying patrons than it is about art-that is, if art is seen as a deeply realized act of self expression transcending subject matter. 类似的按类别收集的做法也可以在航空艺术、军事和战争物品、老式汽车、古老的帆船、巴黎雨中街景、性感女郎、冠军狗猫或马等领域看到。在大多数情况下，收藏者和艺术家（或艺术家们）形成一种共生关系，双方都对某种事物感兴趣，比如足球，其中一方绘制了令人难忘的触地得分或球员在血腥冲击时刻的画面，而另一方购买这些画作。这种几乎无限的需求倾向于鼓励使用照片，因为市场，尽管天真，却非常有利可图。在许多情况下，唯一的工作来源就是照片。我相信我上面描述的更多是为了满足赞助人的需求，而不是关于艺术，如果艺术被视为超越主题的深刻实现的自我表达。
THE REALLY BIG SIN 真正的大罪
Some say you will know for certain you have truly hit bottom the day you project a photo onto a canvas or sheet of watercolor paper and - dare I even say the words-TRACE IT. (And here I am not referring to the various methods of simply transferring original freehand drawings from paper to canvas.) I mean this: it's when you take a photo of your mom, your puppy, the Taj Mahal, or whatever, then put the photo into a projector, lower the lights, put a canvas on your easel, project the photo onto the canvas, and then patiently trace everything onto your canvas down to the last tiny detail. And you do all of this with the full knowledge that most people viewing the finished piece will assume it was drawn freehand in the usual way. 有人说，当你将照片投影到画布或水彩纸上，并且——我敢说这些话吗——将其追踪时，你就会确切地知道自己已经触底了。（在这里，我并不是指简单地将原始的徒手绘图从纸张转移到画布的各种方法。）我的意思是：当你拍摄你妈妈、你的小狗、泰姬陵或其他任何东西的照片，然后将照片放入投影仪中，调低灯光，将画布放在画架上，将照片投影到画布上，然后耐心地将每一个细节追踪到你的画布上。你做所有这些时，完全知道大多数观看完成作品的人会认为它是以通常的方式徒手绘制的。
I know the very thought of doing such things has probably never even occurred to you, but if the temptation ever rears its ugly head, resist it to the death! Why? Because direct tracing of your primary subject matter is like sitting down at an electronic piano, pushing the start button, and pretending you are the one doing the playing. It is throwing a frozen dinner in the microwave and assuming you are a skilled chef. It is painting by the numbers, but without the numbers. 我知道你可能从未想过做这样的事情，但如果诱惑出现，要坚决抵制！为什么？因为直接追踪你的主题就像坐在电子钢琴前，按下启动按钮，假装自己在演奏。这就像把冷冻餐放进微波炉，然后假装自己是个技艺高超的厨师。这就像按照数字画画，但却没有数字。
It is amazing how we can delude ourselves about reality using rationalization and other mental expedients to justify our behavior-the human capacity for self-deception is breathtaking. You might dazzle a layman for a while, even some of your fellow artists, but you cannot fool yourself entirely any more than you can hide from God. Of course, if you're painting to make money, it doesn't matter. In that case the goal is profit, not art, so anything goes. 我们可以通过合理化和其他心理手段来欺骗自己，以证明我们的行为是多么令人惊讶-人类自欺的能力令人叹为观止。你可能会一时迷惑一个外行，甚至是一些同行艺术家，但你无法完全欺骗自己，就像你无法躲避上帝一样。当然，如果你是为了赚钱而绘画，那就无所谓了。在这种情况下，目标是利润，而不是艺术，所以什么都可以。
SUMATRAN TIGER watercolor on paper, 苏门答腊虎 水彩纸上
I was going to call this one "Roar," but I thought better of it. Actually he was yawning, perhaps out of sheer boredom, I'll never know. I drew many of these animals at the Lincoln Park Zoo in Chicago, during my student days. I wanted to be able to do animals as well as people, so I made many trips to the Natural History Museum and the two zoos in the Chicago area. Doing a watercolor or an oil painting of a live animal from life is risky. Even if they are sleeping, you never know when they are going to get up and walk around. Doing my drawings from life, and paintings from my photos was the ideal way to go. Besides learning their anatomy, I also learned animal motion from my life drawings. 我本来想把这个称为“咆哮”，但我觉得还是算了。实际上，它是在打哈欠，也许是因为无聊，我永远不会知道。在芝加哥林肯公园动物园，我画了许多这样的动物，那是我在学生时代。我想要能够画动物和人一样好，所以我去了芝加哥地区的自然历史博物馆和两家动物园很多次。现场用水彩或油画画一只活动的动物是有风险的。即使它们在睡觉，你也永远不知道它们什么时候会起来四处走动。从实物中画我的素描，从照片中画我的油画是最理想的方式。除了学习它们的解剖学，我还从我的素描中学到了动物的运动。
I wasn't consciously thinking about Vermeer when I was setting up Nancy in this pose, but there it is! The similarities are undeniable - the plain wall, the fabrics, the strong side light from a window (although Vermeer's light, with one or two exceptions, always came from a higher angle and the opposite direction). 我在安排南希摆出这个姿势时并没有刻意想到维梅尔，但事实就是如此！相似之处不可否认 - 简单的墙壁、织物、来自窗户的强烈侧光（尽管维梅尔的光线，除了一两个例外，总是来自更高的角度和相反的方向）。
For all of its obviously similar design elements, however, there are several striking dissimilarities in my painting. 尽管我的画作中有许多明显相似的设计元素，但是有几处引人注目的不同之处。
For example, Vermeer would never have cut his picture in half as I did here, the bottom half dark, the top half, light. Nor would he have employed my loose edges, impasto painting, or palette knife work. 例如，维梅尔绝不会像我在这里所做的那样把他的画切成两半，下半部分暗，上半部分明亮。他也不会采用我的松散边缘、厚涂绘画或调色刀工作。
Still, Vermeer's influence seems to have come through. I guess it is the result of how I absorb the things I like in works of other painters. I take what I value in them, reject the rest, and make them part of my own repertoire. 尽管如此，维梅尔的影响似乎已经体现出来。我想这是我吸收其他画家作品中喜欢的东西的结果。我会取其精华，弃其糟粕，并将其融入到我自己的创作中。
My mind is a supermarket of other artists' techniques and ideas. My mind is filled with Rembrandt faces, Sargent brushstrokes, Zorn edges, Sorolla's color, Mancini's romanticism, Serov's haunting honesty, and so much more. 我的头脑是其他艺术家技巧和创意的超市。我的脑海里充满了伦勃朗的面孔，萨金特的笔触，佐恩的边缘，索罗拉的色彩，曼奇尼的浪漫主义，谢罗夫的令人难忘的诚实，以及更多。
If I never had a single original thought in my own head, I could still come up with endless composites of their works and make them look uniquely my own. It doesn't happen that way, of course, because I have an irresistible drive to put my own spin on things. For better or worse, I always see things in the Masters'works that I am compelled to do differently. 如果我自己的脑袋里从未有过一丝原创的想法，我仍然可以无穷无尽地创作出他们作品的组合，并使它们看起来独具我的风格。当然，并不是这样发生的，因为我有一种无法抗拒的冲动，要在事物上加入我自己的特色。不管是好是坏，我总是能在大师的作品中看到我必须以不同方式做的事情。
If you do it too much (tracing), it is likely to erode what drawing ability you do have. Tracing seems effortless, though quite tedious, compared to freehand drawing, but it can easily become a dependent habit. The rendering of a traced image, however, can be anything but effortless because of an ever-increasing reliance on the traced lines, and the consequent imperative to preserve them. This, in turn, leads to difficulties in creating interesting edges. 如果你做得太多（描迹），很可能会侵蚀你已有的绘画能力。与自由手绘相比，描迹似乎毫不费力，但相当乏味，但很容易变成一种依赖习惯。然而，描迹图像的渲染可能一点也不轻松，因为对描迹线条的依赖日益增加，必须保留它们。这反过来会导致在创造有趣的边缘时遇到困难。
When you finish a painting started as a tracing, there can be little sense of achievement, except perhaps for the patience required to color it. Tracing can be degrading because you deny yourself the freedom to use your own powers of self-expression. Real drawing is a discipline that must be maintained by constant practice. Use it or lose it was never more true than it is here. It is like staying in physical shape, but in most cases you will not need a shower afterwards. Knowing how to do it must be accompanied by actually doing it as a first choice. The habit of tracing to get the drawing reduces you to the level of a child playing with a coloring book, and it's not as much fun as it was when you were three years old. 当你完成一幅以描图开始的绘画时，除了可能需要耐心来填色外，可能会感到一点成就感。描图可能会让人感到屈辱，因为你剥夺了运用自己的自我表达能力的自由。真正的绘画是一种必须通过持续练习来保持的纪律。不用就会丧失，这句话在这里再合适不过了。这就像保持身体健康一样，但在大多数情况下，你之后不需要淋浴。知道如何做必须伴随着实际去做作为首选。描图来获得绘画的习惯会把你降低到一个玩着填色书的孩子的水平，而且当你三岁时，这并不像以前那么有趣。
I suppose it can be argued that in the same way a calculator is used to bypass the tedium of arithmetic, a traced photograph can replace freehand drawing. Norman Rockwell, again, commenting on his practice of tracing photos, pointed out how today we don't use horses and buggies when we can drive a car. I thought about that, and while I have no problem with the part about driving a car, I do feel it a bit specious to equate horse and buggy technology with virtuoso drawing ability. I wonder as well about the deliberate dismissal of a valuable human skill in favor of a labor-saving device, however convenient it might be. 我想可以这样说，就像计算器用来绕过繁琐的算术一样，描摹的照片可以取代手绘。诺曼·洛克威尔再次谈到他描摹照片的做法时指出，今天我们不再使用马车，而是开车。我想了想，虽然我对开车这部分没有问题，但我觉得把马车技术与高超的绘画能力等同起来有点牵强。我也在思考，为了方便可能会故意抛弃一项宝贵的人类技能，这是否合理。
From time immemorial, the one skill distinguishing artists from all others is the ability to draw. It is an overriding part of our personal identity as artists, and it is how others see us. 自古以来，区分艺术家与其他人的关键技能就是绘画能力。这是我们作为艺术家个人身份的重要组成部分，也是他人如何看待我们的方式。
HOW I USE PHOTOS 我如何使用照片
I use them in situations I outlined previously in describing the "Pros." However, I painted exclusively from life for over 20 years before a physical disability limited my ability to carry equipment around for landscape painting. For a while until my recovery, a camera was the only means I had of reaching certain outdoor subjects. I know for certain that my considerable experience with plein air painting enabled me to avoid many of the problems of working with photos. 我在之前描述“优点”时提到的情况下使用它们。然而，在患有身体残疾导致无法携带设备进行风景绘画之前的 20 多年里，我完全是根据实景绘画的。在康复之前的一段时间里，相机是我接触某些户外主题的唯一方式。我确信，我在现场绘画方面的丰富经验使我能够避免许多使用照片时的问题。
Two things are on my mind when I must use a photograph. First, I want my finished painting to look as much as possible as if it were done from life. That is my highest priority. Second, I am always aware of how much better it would be if I really were painting from life instead. With that in mind, here are some other points: 当我必须使用照片时，我脑海中有两件事。首先，我希望我的完成画作尽可能看起来像是从真实生活中完成的。这是我的最高优先事项。其次，我始终意识到，如果我真的是在现场作画，效果会好得多。考虑到这一点，以下是一些其他要点：
I regard a photograph as a tool, and only a tool-not as a more convenient way to draw. I enjoy being in complete control, unrestricted by what the camera happened to capture, and definitely not as a primary source of subject matter. I use photography as a supplement to, not a substitute for, the real thing. 我把照片视为一种工具，仅仅是一种工具，而不是更方便的绘画方式。我喜欢完全掌控，不受相机捕捉到的内容限制，绝对不是主要的题材来源。我把摄影当作真实事物的补充，而不是替代品。
I never do anything from a photo I haven't previously encountered in a similar painting from life. Nor have I ever done a painting from another's photo. Once, I confess, I did do a small drawing someone else took of a young girl and her dog. Mea culpa. If I must use a photo, most often I first do a small painting from life in order to get the color, values, and edges of the actual subject. I then do a larger version in my studio using a photo as reference for drawing and detail. The larger painting is always worse, and I feel stupid. 我从未根据以前在现实生活中遇到的类似绘画之外的照片做任何事情。我也从未根据他人的照片绘画过。有一次，我承认，我确实画过别人拍摄的一幅描绘一位年轻女孩和她的狗的小插图。我的错。如果我必须使用照片，我通常会先从生活中做一幅小画，以获取实际主题的颜色、价值和边缘。然后我会在工作室里做一个更大的版本，使用照片作为绘画和细节的参考。更大的绘画总是更糟，我感到很愚蠢。
In the past, I used larger format film, instead of , because it provided far more information (31/2 times more) when enlarged. The Hasselblad camera I still use is cumbersome compared to cameras, but it is worth the trouble for subjects where color changes are critical. When it comes to using a selected photo, I create a digital image of it in a high-resolution scanner for viewing on a color balanced high-definition monitor, about 21 inches measured diagonally. 过去，我使用较大格式的胶片， 而不是 ，因为在放大时提供了更多信息（增加了 31/2 倍）。我仍在使用的哈苏相机与 相机相比笨重，但对于颜色变化至关重要的主题来说，这是值得的。在选择照片时，我会使用高分辨率扫描仪创建其数字图像，以在色彩平衡的高清晰度监视器上查看，对角线测量约为 21 英寸。
Today I also use a high-resolution digital camera for ordinary quick shots, such as landscape features and passing ideas for pictures, much as a writer will dictate to a pocket recorder when useful thoughts arise. If I know beforehand I will have to supplement a painting, and my subject is a person, I restrict the size of my depiction in the painting to no more than one-third life size. As far as I am concerned, no photo at this writing, regardless of size, will show sufficient color changes for a larger, life-size rendering. Current digital resolutions will surely increase as technology advances. For now, I settle for dipping into my knowledge and experience, or failing that, simply guess at the color (fake it). 今天，我也会使用一台高分辨率的数码 相机进行普通的快速拍摄，比如风景特征和突发的拍照想法，就像作家在有用的想法出现时会对口袋录音机口述一样。如果我事先知道我将不得不补充一幅画，而我的主题是一个人，我会限制绘画中我所描绘的尺寸不超过三分之一的真人大小。就我个人而言，在我写作时，无论照片大小如何，都不会显示足够的颜色变化以进行更大尺寸的渲染。随着技术的进步，当前的数码分辨率肯定会增加。就目前而言，我会利用我的知识和经验，或者如果失败，就简单地猜测颜色（假装）。
Technology being what it is, the equipment I mention here will probably be obsolete by industry standards by the time this book is printed and made available. No matter. Today's cameras and other devices are well-enough developed to give me what I need for the next five or seven years or so. In the future, technicians will have changed the connecting cables, outlets, software, and other stuff, so my hardware, though still perfectly good, will be incompatible with anything new, which will mean buying a whole new system. By then I might very well be completely obsolete, or I might be sipping margaritas while cruising the Greek Isles on my yacht. 科技发展迅速，我在这里提到的设备可能在这本书印刷并发布时已经过时了。但无妨。如今的相机和其他设备已经发展得足够好，可以满足我未来五到七年的需求。未来，技术人员会更换连接电缆、插座、软件和其他设备，因此，尽管我的硬件仍然完好，但将无法与任何新设备兼容，这意味着需要购买全新的系统。到那时，我很可能已经完全过时，或者我可能正在我的游艇上品尝玛格丽特鸡尾酒，巡游希腊群岛。
As I mentioned earlier, I view my photos on a computer monitor to be sure of getting the most accurate color temperature as the equipment will allow. A computer monitor, or its equivalent in smaller devices, and digital projectors, will display photos shot in cool light as faithfully as those shot in warm light. In 2007 I produced a DVD showing how I use digital means in my painting. I made a 150 minute presentation because I realized most artists will sooner or later use photos, so they ought to see at least one good way that works for me (I'm sure there are others as well). 正如我之前提到的，我会在计算机显示器上查看我的照片，以确保获得设备允许的最准确的色温。计算机显示器，或者在较小设备中的等效物，以及数字投影仪，将会如实显示在冷光下拍摄的照片，就像在暖光下拍摄的照片一样。2007 年，我制作了一部 DVD，展示了我如何在绘画中使用数字手段。我做了一个 150 分钟的演示，因为我意识到大多数艺术家迟早会使用照片，所以他们应该至少看到一种适合我的好方法（我相信也有其他方法）。
You can get this DVD (titled White Pine) through my website: www.richardschmid.com 您可以通过我的网站 www.richardschmid.com 获取这张名为《白松》的 DVD。
To ensure my picture will have a look similar to Alla Prima, I try to set the same time restrictions as if I were actually painting from life. That way I will be forced to use the technique, the brushwork, drawing style, and degree of detail which would normally result from working under time pressure. It takes a bit of self-discipline, but yields a far more satisfying result (at least for me). 为了确保我的画作看起来与 Alla Prima 相似，我尝试设定与实际从生活中绘画时相同的时间限制。这样我将被迫使用技巧、笔触、绘画风格和细节程度，这些通常是在时间压力下工作时产生的。这需要一些自律，但会得到更加令人满意的结果（至少对我来说是这样）。
So it's good to be careful when using a photo. Look at it closely for areas of washed-out color and confusing detail. For example, photos taken in bright sunlight cannot capture true contrast and color simultaneously. Cameras yield the best color under moderate light conditions. When you work with a camera, try to imagine the image in the viewer as a painting. Before you trip the shutter, scan the subject for things in it, or things lacking, which might present later problems in painting. Also, be extravagant with your shots. Bracket them (three shots - one slightly overexposed, one correct, and one slightly underexposed). There is an automatic setting for bracketing on most professional cameras. Shoot from many angles too. Gather as much information as you can for a painting, but avoid using other peoples' photos. You need your own experience of the real thing to give an authentic look to your painting. 因此，在使用照片时要小心。仔细查看照片，看看有没有色彩过度淡化和细节混乱的地方。例如，在明亮阳光下拍摄的照片无法同时捕捉真实的对比度和色彩。相机在适中光线条件下呈现最佳色彩。当你使用相机时，试着将画面想象成一幅画。在按下快门之前，扫描主题，看看其中有什么东西，或者缺少什么，可能会在绘画时造成问题。此外，要大胆地拍摄。对照片进行曝光补偿（三张照片 - 一张略过曝，一张正确曝光，一张略欠曝）。大多数专业相机都有曝光补偿的自动设置。也要从多个角度拍摄。收集尽可能多的信息用于绘画，但避免使用他人的照片。你需要自己对真实事物的经验，才能让你的绘画看起来更加真实。
Use your photos as soon as possible after you take them so your memory of the subject is fresh. Be especially aware of edges when you paint because they are not as easily identified as they are in real life, especially those on the periphery. Paint your colors slightly brighter and dark values a bit deeper to make up for the film's inherent weakness. Eliminate unnecessary detail whenever you can. 尽快使用拍摄的照片，以便主题的记忆仍然新鲜。在绘画时特别注意边缘，因为它们不像在现实生活中那样容易识别，尤其是在外围的边缘。将颜色稍微加亮，暗色值稍微加深，以弥补胶片固有的弱点。尽量减少不必要的细节。
Lastly, if you are dependent upon the use of photos for your way of earning a living from art, try to counterbalance the negative effects they have on your basic skill by setting aside regular time for painting from life. Join a painting group or do it on your own to make sure you maintain your "eye" for painting the real thing. It will enhance your work from photos immeasurably, and I think it's more interesting. Also you can meet a lot of, shall I say, eclectic, people in a roomful of artists. 最后，如果您依赖照片来谋生，尝试通过定期腾出时间从生活中绘画来抵消它们对您基本技能的负面影响。加入一个绘画团体或独自行动，确保您保持对绘制真实事物的“眼光”。这将极大地提升您从照片中创作的作品，我认为这更有趣。此外，在一个充满艺术家的房间里，您还可以结识许多，我应该说，兼收并蓄的人。
JAN AND BETTINA (At one year), oil on canvas, 简和贝蒂娜（一岁），油彩画，
CHAPTER THIRTEEN-THE MAGIC
A PERSONAL VIEW 第十三章-魔术的个人观点
I have been a painter for my entire adult life. In all of that time I have never been able to ignore the wonders possible in painting. The astonishing thing to me is how certain individuals could even conceive of anything as beautiful as some of their works - or how you and I could have the capacity to respond to them. 我一生都是一名画家。在这段时间里，我从未能忽视绘画中可能存在的奇迹。令我惊讶的是，某些人甚至能构想出像他们的一些作品那样美丽的东西，或者你我如何有能力对它们做出回应。
I have pursued this question relentlessly over the years, and I am still consumed with the mystery of what makes such magic possible. In my younger days, I learned what many serious thinkers thought about Art, and for a while I even believed I knew what it was. Inevitably it dawned on me I probably could not rationally understand Art itself. I know perhaps it is best left a mystery lest it lose its flavor, but as the matter stands, I am not wholly resigned to being in the dark forever. There is something in me that wants to keep picking away at the question of Art, because it still amazes me I cannot clearly define the work which has so dominated my life. Conundrums such as this are what windmills were to Don Quixote. Though I don't expect to nail it very soon, the questions surrounding Art remain wonderfully seductive. They are firmly bound to my identity, my values, my relationships with others, and my idea of what the world is. 多年来，我一直不懈地追寻这个问题，至今仍然被使这种魔法成为可能的奥秘所吸引。在我年轻的时候，我了解了许多认真思考艺术的人对艺术的看法，有一段时间，我甚至相信我知道艺术是什么。不可避免地，我意识到我可能无法理性地理解艺术本身。也许最好让它保持神秘感，以免失去其魅力，但就目前情况而言，我并不完全接受永远处于黑暗中。我内心深处有一种渴望继续探讨艺术问题的冲动，因为我仍然惊讶于我无法清晰定义那些主宰了我的生活的作品。这类难题就像唐·吉诃德眼中的风车一样。虽然我不指望很快就能解决这个问题，但围绕艺术的问题仍然极具诱惑力。它们牢牢地与我的身份、价值观、与他人的关系以及我对世界的看法紧密相连。
While I am painting, however, such theoretical ideas rarely surface. I never wonder if my work is important (whatever that means), or if I should be better occupied. Any doubts I may have about the significance of what I am doing are little more than trivial irritations. Marvelous speculations sometimes come rushing to the surface during my sweaty efforts at creation, but they are never about aesthetics or the nature of Art. 在我作画的时候，这些理论观念很少浮现。我从不纠结于我的作品是否重要（不管那意味着什么），或者我是否应该更好地利用时间。我对我所做的事情的重要性可能存在一些疑虑，但不过是些微不足道的烦恼。在我辛苦创作的过程中，有时会涌现出奇妙的推测，但它们从未涉及美学或艺术的本质。
Instead, my painting draws me into what has captivated me. Sometimes when concentration is intense, my canvas seems to take on an irresistible momentum, unfolding almost as if it had a life of its own, and I become lost in the spectacle of what is occurring. It is like the moment when a runner reaches his or her stride, and running becomes effortless, like flying. Those are heady moments indeed, times to be savored. They are always a dramatic reminder to me that skill is only one of the prerequisites - part of the setup to unleash a poetic act - and my painting, with all of its involvement and complication, seems merely a record of the event. 相反，我的绘画吸引着我。有时候，当专注力达到极致时，我的画布似乎带着一种不可抗拒的动力，几乎像是有了自己的生命，我会沉浸在所发生的壮观景象中。就像一个跑步者达到自己的步伐时刻，奔跑变得毫不费力，就像飞翔一样。那些确实是令人兴奋的时刻，值得细细品味。它们总是在提醒我，技巧只是先决条件之一 - 是释放诗意行为的一部分设置 - 我的绘画，带着所有的参与和复杂性，似乎只是事件的记录。
Of course, there is more to this business than what happens during painting. In my student days I was introduced to the ideas of Robert Henri, perhaps the most revered and influential of American painters. In The Art Spirit (Margery Ryerson. Harper & Row), he made one point over and over again - that Art can be a powerful voice for anything, and that artists should be the people who give voice to the unnoticed adventure underlying the routine of daily life. He urged us toward the Socratic maxim know thyself as the starting point. Henri believed Art was the means to jolt ourselves and others awake to the wonder of being alive in this stupendous universe. Over and over he pleads with us to seek technical excellence so we may give compelling expression to our thoughts. 当然，这个行业不仅仅是在绘画过程中发生的事情。在我读书的时候，我接触到了罗伯特·亨利的思想，他或许是美国最受尊敬和有影响力的画家之一。在《艺术精神》（玛格丽·赖尔森，哈珀罗）中，他一再强调一个观点 - 艺术可以成为任何事情的有力表达，艺术家应该是那些为日常生活的常规下的未被注意到的冒险发声的人。他敦促我们朝着苏格拉底的箴言“认识自己”作为起点。亨利相信艺术是唤醒我们自己和他人对存在于这个宏伟宇宙中的生命奇迹的手段。他一再恳求我们追求技术上的卓越，以便我们能够对我们的思想给予引人注目的表达。
Time has not diminished my fascination with Henri's ideas nor those of the other heroes of my youth: Whitman, Emerson, Thoreau, and others. Their collective philosophy flashed as a thrilling verification of the direction in Art I craved, and though it may sound naive for a man of my age, I still respond to those ideas. 时间并没有减弱我对亨利及其他我年轻时的英雄们（惠特曼、爱默生、梭罗等）思想的迷恋。他们的集体哲学如一道激动人心的验证，指引着我渴望的艺术方向。虽然对于我这个年龄的人来说可能听起来有些幼稚，但我仍然对这些思想有所回应。
SUBJECT MATTER 主题内容
Many people gravitate toward Art because it is still an arena of great freedom-almost any human act imaginable is now presented as Art today — but no creative effort can endure unless it touches us in a way we cannot forget. If you wish to do that with your paintings, you must do what is necessary to paint them well. Awareness and deep response are the beginning of any poetic act, but they are common human experiences, not exclusively artistic, and many have them. What sets you as an artist apart from the rest of humanity is your ability to give visual form to an idea - the skill to transform it into something more than an insight or perception alone. Art happens in the process of this unique transformation. You must be able to grab your viewer's attention and hold it while you get your message across. 许多人被艺术所吸引，因为它仍然是一个极具自由的领域 - 几乎任何人类可以想象的行为现在都被呈现为艺术 - 但除非创造性的努力触动我们，否则无法持久。如果你希望用你的绘画做到这一点，你必须做好把它们画好的准备。意识和深刻的回应是任何诗意行为的开始，但它们是普遍的人类经历，而不是专门艺术的，许多人都有这种经历。将你作为艺术家与其他人类区分开来的是你能够将一个想法赋予视觉形式的能力 - 将其转化为不仅仅是洞察或感知的东西的技能。艺术发生在这种独特转变的过程中。你必须能够吸引观众的注意力并保持它，同时传达你的信息。
If what you choose to paint comes from your heart, and you are skillful enough, it will resonate somehow within someone else. It is absurd to imagine that the magnitude of a work is somehow connected to the accepted importance of its subject (or the artist). The portrait Velasquez did of his manservant surpasses those he did of the Pope or the King of Spain. Degas found his vision in simple ballet students, not prima ballerinas. Monet caught it with lily pads and hay; Lautrec saw angels in prostitutes; Vermeer painted the corner of his room. Rembrandt dignified all of humanity by painting his own worn face; Bach offered us his beautiful abiding love of God, and uncountable thousands of completely anonymous artists gave us their workaday craftsmanship - things that are now the treasures of antiquity. 如果你选择绘画的灵感源自内心，并且你足够熟练，它将在某种程度上引起他人共鸣。想象一个作品的重要性与其主题（或艺术家）的认可重要性有某种联系是荒谬的。韦拉斯奎兹为他的男仆绘制的肖像超越了他为教皇或西班牙国王绘制的肖像。德加在简单的芭蕾舞学生中找到了他的视角，而不是一线芭蕾舞演员。莫奈用百合花和干草捕捉了它；劳特雷克在妓女中看到了天使；维梅尔绘制了他房间的一角。伦勃朗通过绘制自己疲惫的面孔使所有人类得到尊严；巴赫向我们展示了他对上帝美丽恒久的爱，还有无数无名艺术家们奉献出他们的日常工艺 - 这些现在是古代的珍宝。
Always remember dear friend, that seen from a certain point of view, everything is miraculous, and it is everywhere. Therefore, nothing is out of bounds as subject matter, even the dark side of life. That is why the face masks of Tragedy and Comedy are symbols of Drama, and why Poetry and Music can be so bittersweet. The grandest and simplest things contain worlds within worlds. Seeing them is a matter of your point of view, and your painter's eye is a special portal to such sights. 亲爱的朋友，请永远记住，从某种角度来看，一切都是奇迹，无处不在。因此，没有什么是不适合作为主题的，即使是生活的黑暗面。这就是为什么悲剧和喜剧的面具是戏剧的象征，以及为什么诗歌和音乐可以如此苦乐参半。最宏伟和最简单的事物中蕴含着无尽的世界。看待它们取决于你的观点，而你作为画家的眼睛是通往这些景象的特殊门户。
When choosing your subjects, never worry about greatness or significance or your place in history. Let your subject come from within you and be an honest act of sharing. In a very real sense, every work you do is a self-portrait because your paintings always reveal more about you than about your subject. Your experience of something, not the something itself, is the true underlying subject of every work you do. Ultimately, that is how your work, or that of any other artist, will be judged. 在选择主题时，永远不要担心伟大或重要性，也不要担心你在历史中的地位。让你的主题来自内心，并成为一个诚实的分享行为。从某种意义上说，你所做的每件作品都是一幅自画像，因为你的绘画总是更多地揭示了关于你自己而不是关于你的主题。你对某事的经历，而不是事物本身，是你所做每件作品的真正基础主题。最终，你的作品，或任何其他艺术家的作品，将以此来评判。
NANCY PAINTING oil on panel, 南希绘画 油彩画板,
YOU
You are the sum of your choices. Your job then is to make sure your ideas about what to paint are not wholly based upon either the acceptable or the taboo, but arise instead from what honestly fascinates and stirs you. You may feel vulnerable, but I see no way around that. I assure you it is OK to feel vulnerable. It is, after all, the human condition. In any case, your thoughts (and mine) are just as valid as those of anyone else. Even though you share countless similarities with others, you are unique. No one has your mind or your feelings. They do not always notice what you notice, and do not have precisely the same sensitivities or fears. No one has the same idea of God as you. No one longs to embrace life or ponders death and beyond as you do. No one is human in the same exact way as you are. 你是你选择的总和。因此，你的工作是确保你想要绘画的内容不完全基于可接受或禁忌，而是源自于真正让你着迷和激发内心的东西。你可能会感到脆弱，但我认为这是无法避免的。我向你保证，感到脆弱是可以接受的。毕竟，这是人类的处境。无论如何，你的想法（以及我的）和任何其他人的想法一样有价值。尽管你与他人有无数相似之处，但你是独一无二的。没有人拥有你的思想或感受。他们并不总是注意到你所注意到的事物，也没有完全相同的敏感性或恐惧。没有人和你有完全相同的上帝观念。没有人像你一样渴望拥抱生命或思考死亡及其以后的事情。没有人以与你完全相同的方式成为人类。
Once you understand this, your task is to get in touch with yourself. Find out what moves you, what you believe in, and what you truly understand about life. Taken together, such insights may lead you to know who you are, and what this great experience of living means to you. Then put that in your paintings. 一旦你明白了这一点，你的任务就是与自己联系。找出是什么激励着你，你相信什么，以及你对生活的真正理解。这些洞察力综合在一起，可能会帮助你了解自己是谁，以及生活这一伟大经历对你意味着什么。然后将这些表达在你的绘画中。
Somewhere within all of us there is a wordless center, a part of us that hopes to be immortal in some way, a part that has remained unchanged since we were children. It is the source of our strength and compassion. That faint confluence of the tangible and the spiritual is where Art comes from. It has no known limits, and once you tap into it you will realize what truly rich choices you have. May each painting you do from that sacred place include an expression of gratitude for the extraordinary privilege of being an artist. 在我们每个人的内心深处，都有一个无言的中心，一个希望以某种方式永恒的部分，一个自童年以来未曾改变的部分。这是我们力量和同情心的源泉。那微弱的实体与精神的交汇处就是艺术的源头。它没有已知的限制，一旦你触及它，你将意识到你拥有真正丰富的选择。愿你每一幅从那神圣之地创作的画作都包含对成为艺术家这种非凡特权的感恩表达。
RICHARD and WOLF 理查德和沃尔夫
Remember-soft edges in a painting are not an end in themselves. They must be appropriately soft and should conform to what you perceive them to be in your subject. This is what will make your edges look authentic. Arbitrarily softening everything is like intentionally mumbling when you speak. 记住-绘画中的柔和边缘并非目的。它们必须适当柔和，并应符合您在主题中所感知到的。这将使您的边缘看起来更真实。任意软化一切就像在讲话时故意含糊不清。
