关于绿色植物，多样性的研究

A Study In Greens, Variety in Your Colors /关于绿色植物，多样性的研究
By Neil Blevins
作者：Neil Blevins
翻译by:yipinsucai.com
Looking at my artwork, you may notice that I usually enjoy the use of similar colors in a piece. For example, a color scheme of yellows / oranges / reds, or maybe light blue / dark blue / purple. But even with similar colors, I always try to add variety and variation in their hue to keep the eye interested. And doing that also adds realism to your piece.
看着我的艺术品,你可能会注意到,我通常喜欢使用相似的颜色在一块。例如,一个颜色方案的黄色/桔子/红色,或者浅蓝色/深蓝色/紫色。但即使有类似的颜色,我总是试图增加多样性和变异的色调来保持眼睛的兴趣。这样做才能增加真实感到你的作品。
Color choice helps add mood to a scene as well. In fact, on larger productions, some companies have people who are devoted to picking the color palette for a particular shot or sequence to make sure the overall look conveys the right feel to the audience. Color theory is a vast subject, for this tutorial, I'm just going to pick one small lesson that I was taught the first few years I attended art classes with Canadian Wildlife painter Renate Heidersdorf. I was very lucky to get a place in one of her classes when I was 6 years old, and I continued going to those classes until I was 23.
颜色的选择有助于增加气氛到一个场景。事实上,在较大的项目上,一些公司已经有专门的人致力于挑选颜色,以确保整体看起来传达了正确的感觉给观众。颜色理论是一个宏大的主题,本教程中,我将从几年前我参加加拿大野生动物画家Renate Heidersdorf的艺术课程中学到的经验。我很幸运能够得到一个她的课程成员位置在我6岁的时侯,我继续这些课程直到我23岁。
Every year in the fall, classes started out with us doing a nature piece of some kind. When I was like 7 or 8, we did the following, first, open the ink that was called "Green". Place it on the paper. Observe the color. Probably medium brightness, not quite neon, but very generic.
每年到了秋天,我们开始出去观察自然。我喜欢7或8,我们做了以下的事情,首先,打开墨水,被称为“绿色”。把它放在纸上，观察颜色。可能中等亮度,但非常常见。

Then in the next 20 minutes we had to mix on the paper 20 different greens. Green with yellow mixed in. Green with blue. Green with brown. Dark greens, light greens, Lime greens. As many greens as we could find.
然后在接下来的20分钟我们混合出20个不同的绿色。绿色和黄色的混合，绿色和蓝色，绿色和棕色，深绿色,浅绿色,石灰绿。尽可能多的绿色我们可以组合出来的。

The purpose of the exercise was to realize that just because this ink was called "green" does not mean it should be used to paint anything we know to be "green".
这种做法的目的是要意识到,仅仅因为这种颜色被称为“绿色”，并不意味着它应该被用于任何物体上，仅仅是绿色。
Once we finished this exercise, we then started out by painting a nature scene of some sort. And of course, we were expected to use lots of different greens, different greens for different trees, grass and plants.
一旦我们完成这个练习,然后我们开始画一个某种类型的自然风光。当然,我们将使用许多不同的绿色,不同的绿色为不同的树木,草地和植物。
The Rules/规则
Now, it may seem odd to have small children follow a rule like this, "No premade green is allowed in your painting". But in fact, it is not a rule as much as a method of breaking the rules. When we are small and are holding our first crayon, we have total freedom. If we want to make the sky green, we can make the sky green. I mean, why not, if that's how our minds see the sky. But soon afterwards, we start looking to our parents for answers to our questions. Such as, "what color is that tree?' "Well, it's green". "What color is that grass?" "It's green." "What color is that car?" "It's green". Pretty soon, we have all the answers we need, all of these things are now categorized, they are all green. So no wonder when a person starts painting, they immediately reach for that generic green to paint their grass and trees. After all, they're all green, this paint jar says green, so I should paint it green.
现在,这可能看上去很奇怪有小的孩子遵循一个规则,“不允许预先准备好绿色画你的画”。但事实上,它不是一个规则。当我们还很小的时候,还拿我们的第一个蜡笔,我们有完全的自由。如果我们像使天空是绿色的,我们就把天空画成绿色。我的意思是,为什么不画出我们的大脑如何看到天空。但是不久以后,我们开始从我们的父母那里寻找我们的问题的答案。比如,“那棵树是什么颜色的?“嗯,它是绿色的”。“是什么颜色草?“它是绿色的。“那车是什么颜色的?“它是绿色的”。不久之后,我们已经有了所有的答案,所有这些东西都分类了,他们都在绿色的分类。所以难怪当一个人开始绘画时,他们立即用绿色画他们的草坪和树木。毕竟,他们都是绿色,这颜料罐说是绿色,所以我应该把它漆成绿色。
This is the difference between painting what you see and what you know. In the book "Mass" by John Harris, he explains how he had a teacher who was convinced that is was more important to paint what you saw then what you knew. As in, forget that you know what that object is, paint the lights, paint the darks, paint the color, paint the shapes, and eventually the object will just take care of itself. Try this as an exercise sometime, find something and try painting what you actually see vs what you know the object looks like. Your observation skills will multiply in no time.
这就是区别你所看到的和你知道的。在John Harris写的这本书“mass”里，他解释说,他有一个老师确信你看到的比你知道的更重要。如：忘记你要画的对象是什么，画亮部,画暗部,画颜色,画形状,只是注意对象物体本身。试试这个作为练习在某个时候,找某个东西,试着画你实际看到的VS你知道对象的样子。你的观察技巧将很快地提高。
And of course, one of the first things you'll notice is that "hey, the green in that leaf is not the same as the green in this leaf." Or "This shadow makes this green darker than the green of this leaf in the light." All of a sudden you see how the object really looks outside of what we expect it to look like.
当然,最早你会注意到,“嘿,这个绿色的叶子是不一样的绿色和另外这片树叶。”或者“这个影子使这个绿叶的颜色比那片阳光下的树叶更暗。“突然之间,你会看到物体看起来和我们脑海中的区别。
The Natural World/自然世界
Lets take a few shots of the natural world. Here's a patch of ivy, notice the huge variety of greens, some leaves are light, some are dark. Some are in shadow...
让我们举几个自然世界的例子。这是一片常青藤,注意有各式各样的绿色,有些绿色是亮的,有些是暗的。有些是在影子里……

Even upon close inspection, the leaves themselves are different colors, with veins and spots and other detail, many, many different greens.
甚至在近距离观察,叶子本身也是不同的颜色的,纹理和斑点和其他细节,许多许多不同的绿色。

And here's a lovely garden scene, plenty of different greens there, I've picked a few of the colors and placed them on the right side for you with Photoshop's color picker.
这里有一个可爱的花园场景,很多不同的绿色,我选择了几个颜色,然后把他们放在右边,你用Photoshop的颜色选择器。

Lets Make Some Grass/让我们做一些草
Following these ideas, lets make some grass. I used the shaghair plugin for this from digimation inside of 3DStudio MAX, this plugin is now called HairFX and is available here. Below is a picture of my grass, with a generic green color. Ok, looks good, but there's something missing. The eye sorta gets lost in the grass, since it's all the same bland color.
跟随这些想法,让我们做一些草。我使用了从digimation得到的shaghair插件,这个插件现在被称为HairFX,在here可以看到。下面的图片是我做的草,用普通的绿色。好的,看起来不错,但少了点东西。眼睛有几乎迷失在草地上,因为它是一种乏味的颜色。

Fortunately, most plugins of this kind probably gives you users some options as far as color goes. For example, you can use a map to specify the color of the blades of grass. Here's a map, imagine this projected from above the grass. When a blade of grass grows, it chooses it's color based on the color of this image at the position the grass is growing. So if it grows from a pixel that's black, the grass itself will be black at that point.
幸运的是,大多数这类插件可以给用户一些选项去调颜色。例如,您可以使用一个贴图指定到草叶的颜色。这是一张贴图,映射到草地上。当一片草叶生长的时候,它的颜色会根据这幅图像的颜色。

And here's the map applied to the grass. Notice how this adds variety and ends up being more pleasing to the eye, as well as more realistic.
这张图片的贴图应用到草上。请注意这是如何增加多样性，最终被更悦目,以及更为真实的。

And here's some real grass, notice the variety in greens...
这里有一些真正的草,注意到各种绿色……

Of course, depending on what you're trying to do, single color grass may be the goal, such as a more cartoony kind of grass, but if you go this route it should be a conscious choice based on a style. A common mistake when you just start out is to make everything the same color, not because you want that but just because it didn't occur to you to do anything else.
当然,这取决于你想做的,单一颜色草可能也是你的目标,比如一个卡通类型的草,但是如果你走这条路线应该是一个有意识的选择一种风格。一个常见的错误是当你刚刚开始的时候让一切东西都是相同的颜色,不是因为你想要这么做而是你没有意识到。
Other Tools/其他工具Along these lines, I've also written a few scripts for 3dsmax that can help. For example, the script RandomMaterial, this lets you apply several materials randomly to a selection of objects. So maybe make a rock texture, then make a second texture that's similar but darker, another one that's lighter, one that has more yellow, etc, then select maybe 100 different rocks, and use this script to assign these materials randomly to the rocks. Now, the eye won't just see the same identical rock, but slight color variations in the rocks.
沿着这条路,我还写了一些3dsmax软件的脚本,对你可以有帮助。例如,脚本RandomMaterial让你给选择的对象随机几种材质。所以也许做一个岩石纹理,然后让第二个纹理类似但更黑,另一个是更亮,更黄等,然后选择也许100个不同的岩石,并使用这个脚本将这些材质随机给岩石。现在,眼睛不会只是看到相同的材质的岩石,而是轻微的颜色变化的岩石。
Color variation is an important step in understanding how the real world works, and can be used as a powerful tool to add richness to a scene.
色差是了解现实世界的重要的一步,并可以作为一个强大的工具来添加丰富的变化到一个场景。
翻译by:yipinsucai.com

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