【翻译帖】人体解剖基础一：如何观察和画出“能量”

原文为英文，地址：http://design.tutsplus.com/articles/human-anatomy-fundamentals-learning-to-see-and-draw-energy--vector-17027（不知道需要翻墙不），是偶然在tutsplus上看到的一套教程的第一集。本来打算记点笔记就好，结果看下来发现字字珠玑，简直需要整大段整大段地复制粘贴。粘贴下来又发现一大段英文看起来好累(´°̥̥̥̥̥̥̥̥ω°̥̥̥̥̥̥̥̥｀)，扫一眼过去抓不到重点。干脆就翻译下大意好了，也po上原文给有兴趣的童鞋看。（温馨提示：略长，请勿在如厕时观看以免造成便秘）
另再唠叨一句，由于涉及练习，所以卤主只看了第一集，打算消化完了再看下一集。
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【Human Anatomy Fundamentals: Learning to See and Draw Energy】
By Joumana Medlej,2 Oct 2013
This is the first of a number of articles teaching everything you need to draw the human body at its most lively. But before embarking on a study of anatomy, we're going to work on an essential preparation: learning to see, and to capture the energy of a body in motion or at rest.这是一套教你如何把人体画得生动的教程。在着手学习人体解剖前，我们需要做一个重要的准备工作：学习如何去观察和捕捉人体在运动或休息时的“能量。
【A Preliminary to More Technical Studies】
The technical study of the body, while necessary to the artist, can result in stiff figures that look put together. This is typical of anatomy study that is not supported by real life study: the student ends up literally putting the body together from what they learned, rather than recreating it from what they observed. Yet what brings a human figure to life cannot be taught or put down in a chart. It is the energy in that figure – happy, rushed, sorrowful, still, childish, uncertain, comfy, exhausted – you can only "learn" it from life. I put "learn" in quotation marks because you must not expect to learn it with the mind (the way you might learn that the average distance between two eyes is equal to an eye). You learn to internalize it, to feel it in your body. If you can feel it in your body, it will make its way into your drawing and you don't have to think of how to do it. This is the key to expressive, lively drawing and it goes for non-human or even non-living subjects, too. 技术性地研究人体解剖固然非常必要，但同时也会导致画出来的角色非常僵硬。因为你只是把人体的各个部分机械地组装到一起，你的角色是从你的脑子中捏造出来的，而不是从生活中再创造来的，因此缺乏“Energy”——开心的、匆忙的、悲痛的、忧郁的——你只能从生活中获取这些！通过观察真实的人物，画出他们的能量，你可以使这些形象成为你大脑图像库的一部分，这是画面有感染力的关键。
In the image below, the two characters essentially hold the same posture. The subtle difference is due to their different mindset, and expressing this in drawing – when the facial expressions are not even visible – came naturally from being able to feel each mindset and how it would influence the posture. 有图有真相
                
                
In the below image, there are things you just won't find references for! In these cases your ability to internalize is a key asset. 下图这些姿势你是不可能会找得到参考的，这时你的再创造能力就非常关键。
                
                
Please don't feel this is hard! It's only tricky because we are always taught to learn with our minds, and this is an obstacle to drawing freely and well. The task this month is about relaxing and letting something instinctive take over.别觉得这很难！Tricky的地方是我们总被用错误的方式训练，这是你自由挥洒地去画画的绊脚石。我们这个月的任务就是：放松，让直觉说话。
What we're going to do is observe living people and capture their energy on paper. 我们要做的就是观察现实生活中的人，获取他们的能量，转移到纸上。
【Phase One: Quick, Permanent Sketches From Real Life】 第一阶段：真实人物速写
You will need to have is a cheap sketchbook (not too small or only your hand will work: give yourself a chance to engage your whole arm) and a bold, permanent drawing instrument such as a ballpoint, marker or a chunky crayon.拿一个速写本，不要太小，不然就只能训练手腕而不是手臂了。带上不能修改的笔，比如圆珠笔或马克笔。
Then, all you need to do is look at people and very quickly, in a few seconds, sketch the impression their posture makes on you, the emotions they give you. I filled the following page while in a coffee shop, watching people outside hurry through the rain. 然后，你所需要做的就是看一眼人物，然后非常快速地，在几秒钟之内，速写他们的姿势在你脑海中留下的印象，他们给你带来的感受。这是去咖啡屋坐着画外面避雨的行人，画出他们的姿势给我的第一印象，非常简单的线条和轮廓即可。不要以为是很难的那种，其实下面这种就可以了……
                
                
As you can see, there is no art to this, no attempt to get proportions right or fill in details beyond that first burst. Sometimes limbs are shown, sometimes not, depending on what has struck me in their posture. Yet as basic as these scribbles are, they still convey something: you can tell these show different people in different states. They have something in common, the look of people in a hurry to get somewhere, but not identical. They have different energies. This is what I mean by capturing energy, and this is your practice for the time being! 你看，这毫无艺术可言，没想把比例搞对，没有任何细节，只是画下一个印象。有些有手有脚，有些没有，取决于什么引起了我的注意。但这些鬼画符还是能带出一些信息的，你可以看到这些人都很匆忙，但不是千人一面，他们又不同的能量。
The reason we're doing this before learning anatomy is that this skill serves as a base to draw lively bodies; while if the habit of technical drawing sets in first, it can be very hard to change and breathe life into that. People can get stuck in the "wooden manikin" syndrome and we don't want that. In the drawings below, you can just see the energy sketch under the final lines, and how it allowed the proper anatomy built over it to retain the dynamism of the quick loose sketch.我们要在学习解剖学之前就做这项练习，不然养成了技巧性想象性画人体的习惯后，要改正过来非常困难。许多人会把角色画成木偶人的样子，我不希望这样的事情发生。
                
                
Another desirable result of this practice: we learn a lot from observation, but even more from actively observing (e.g. sketching). While sketching my crowd above, I was noticing how someone bends to compensate for a heavy load, how rare it is to find someone walking upright in this tired society, how many people held a phone to their ear, etc. Merely observing is good and never a waste of time, but sketching these observations is even better: it's like clicking "save" so they get stored in your system. The more you observe and sketch, the more you know in your body, instinctively, how to draw things. This will come in handy for phase two (and your drawing career, of course). 只观察也挺好，但是能同时画点速写更好：这就好像点击了"保存"然后他们就储存在你的系统里了。你看和画得越多，你对人体就更了解更内在，就会更加知道如何画画。
【A Few Tips】
- Do this a lot, make sure to fill at least two pages per day. Take it from someone who started life as a limited artist: learning to draw is about practice, talent is not a requirement. You can never draw too much, and the more you draw, the more and the faster you'll improve. So practice diligently and you'll reap your rewards accordingly. Professional artists draw constantly and never stop sketching from life. 大量地做这个练习，起码每天两页。绘画学习是需要练习的，天分不是一个必要条件。
- Don't use a pencil for this. It's too prudent a tool. Get used to making bold sweeping lines that can't be undone. 不要用铅笔，作为速写工具来说它太过谨慎了。
- Don't be tempted to do this from pictures. We're sketching life energy! A static photo will not help you with that, and it will give you too much time to think. Working from movies is OK if necessary, or if you're growing comfortable with the exercise and want to try your hand at more dynamic motion (such as in sports or action movies). 不要画照片，我们是速写生活能量！一个静态的照片不会对你有帮助。如果实在有必要，跟着电影画是OK的。
- In case you're that kind of person (many of us are): don't judge yourself. You will never learn anything if you don't embrace the fact you, like everyone else, are going to produce a lot of mediocrity while you learn your craft. Besides, the point here is not to "get it right", as there is nothing to get right and nobody's going to grade you. The point is to develop this skill, and that only happens with practice. Rather than striking out sketches that feel off, circle those where you feel you captured something and give yourself a pat on the back! 别批判你自己。像绝大部分人一样，不通过一叠叠的废纸和渣作，你不可能学到任何东西，获得任何进步。更何况，现在我们不是要"get it right"，没有任何东西要你”get it right“，没有任何人要给你打分。我们是要提高我们的绘画技巧，这只能通过练习实现。
- If you feel frustrated and like you're getting nowhere, that's fine. Just keep doing it. Think of the guys who first decided to fly and spent years tumbling down hillsides with wooden wings strapped to their arms.如果你感到沮丧和没有任何进步，别担心，继续练习就好了。想想那些想要翱翔天际的人，是如何年复一年地把木翅膀绑在手臂上，从山上摔下来。
【Phase Two: Quick, Permanent Sketch Without Reference】第二阶段
When you become comfortable doing quick captures (and I can never repeat enough, the more you've practiced, the better), you can move on to the next phase, which is the same exercise, but without looking at any reference. 当你画顺手点后，你可以进入下一个阶段。练习内容是类似的，只是要脱离参照物。
This is where "feeling it in your body" kicks in. It's not about visualizing your subject in your mind's eye – not that this is excluded, but that comes as a consequence. In the following sketches, which took three minutes altogether, I wasn't trying to capture their image, but the impression they gave me, even though they only existed in my head. Some are not so evocative, but among those who are, you can probably spot the fat man at a table, the forehead slap, the determined small person with his sword, the toddler and the coy girl...从脑海中想象，从自己身上体会，把一些动作速写画出来。如下：
                
                
Now fill your two pages a day with imaginary people doing imaginary things, but instead of observing them with your eyes, take a moment to sense what you're about to draw. Some things may be harder to sense than others, and that's normal: in some ways an artist is very much like an actor! If you've ever caught yourself mirroring the facial expression you were drawing (as I do all the time) then you know exactly what I mean. Just like an actor, an artist may specialize in niche "roles" or broaden his or her range to a variety of characters... and things, as shown in phase three. 同样地，每天也至少画两页这些想象中的小人。有时候有些事物会比较难以想象，这很正常。
【Phase Three (Optional): Consider Non Human Figures and Objects】第三阶段（可选）
Both phases one and two can perfectly be applied to animals, nature and inanimate objects! Everything has an energy, everything has a character. Even lack of character is a character. Even though we're only going to learn human anatomy for the time being, feel free to practice with anything else that catches your fancy. 上面两个阶段的练习，可以套用到动物、自然界甚至无生命的物体上！任何东西都有能量，任何东西都有内在的角色。除了画人，你也可以画任何你感兴趣的东西。
                
                
【Points to Consider】
A Note on Accuracy关于准确度
Notice how an expressive sketch can (and indeed often must take) liberties with its subject:你的速写不需要很准确，只要感觉对了就好。
                
                
This is important. This is because I am drawing the feeling I get from the man playing, rather than reproducing what I see mechanically, which would only capture shapes. Your sketch of the same subject would look different but still clearly be the same subject. This is why tracing is not a good learning tool and why some highly realistic art, while impressive, feels dull and non-dynamic: Tracing life can never actually convey life itself. When we're trapping life as lines on a flat surface, we need to compensate for it by putting something extra feeling of our own in the drawing. That's why it's almost more important to learn to feel and capture energy, than to learn anatomy with medical accuracy. A lively drawing is always more attractive than a lifeless trace (of course, it still needs to look right – it just doesn't have to be a perfect copy). 我们画速写可以很自由，不需要做个照相机。这是因为我画的是"感受"，而不是机械地重复我所看到的东西。这也就是为什么描图不是一个很好的学习方法，和为什么有些写实绘画虽然让人印象深刻，却依然木讷呆板的原因。
We could put this in terms of drawing subjectively vs. objectively. An architect or engineer drawing plans, a medical illustrator, a naturalist need to draw objectively. An artist is usually only concerned with drawing subjectively (which is why this is our first lesson), especially if there is a question of developing style.我们可以把这称为“主动性描绘”和“客观性描绘”。一个建筑师、工程师、医学插图家或自然插图家需要客观地画画。而一个artist则通常只需要考虑主观感受，尤其是想要发展个人风格的时候。
【A Note About Style】关于风格
Many young and aspiring artists are concerned about developing their style. Style is nothing but reality rendered through the filter of what is uniquely you. It's not something you decide to develop. It is this kind of practice – drawing and drawing and drawing a lot, without thinking about it, that allows your hand to start drawing from the place in you that is unique. Your own unique style appears gradually over years of drawing as long as you're not forcing yourself to copy someone else's style. I say years, but the scale is not so much one of time as it is one of practice, so draw and trust that it will happen. In the same way, you can't decide to make your body grow; it does that on its own as long as you give it proper food. The same happens with personal style. Don't try to force it: just allow it to flower. 风格就是通过画面呈现的独一无二的你自己。它不是你可以“决定要发展”的东西。它是一种练习——不断地画大量地画，不要想太多，这会使你的手开始画你自己独有的东西。你自己的风格通常会在画了几年后逐渐浮现。我说几年，但其实这并不是一定的，你需要做的只是持续地画和相信它会出现。别试着去逼它出现，让它自然地开花结果吧。