根据灯光方向来设定亮部与暗部。
Introduced lights and darks according to the light direction.
我们还需要将左侧云彩的暗部加深。
We'll also make the dark parts of the clouds on the left stronger.
黑阶表现好，并保持良好暗部细节；
The good: Superb black-level performance with excellent shadow detail;
加深工具：用于处理影子，暗部和点画。
中间色调：在光部和暗部间的色调范围。
Middle tones (Mid tones) : Tonal ranges between highlights and shadows.
所以，在暗部的边缘处理应该“柔和”。
So in the shadow side of an object, the edges tend to be a little softer.
大致画好亮部和暗部之后，我开始考虑作品的颜色。
With the light and dark areas in place, I then started to consider the colour.
注意：顺便把暗部的颜色画上去，这样房子就显得立体。
Notice: paint hiding colour then make it more tridimensional .
STEP9开始画暗部的细节，并将它弄的尽可能透气些…
STEP9 Begin working on the dark details, and make them look porous, as if air can pass through them…
通常在中间的范围明度最高，较少的暗部区域和较多的高明度区域。
In general you should have most values in the mid range, then less in dark and lighter values.
现在我们再次采用软的笔刷，并将透明度设置到15%开始表现暗部。
Now we take a soft brush again, with the opacity set to about 15% and start the shading.
把一大半的图像隐藏在暗部是一个大胆的表达，这也使这幅画面非常有趣。
It's a bold statement to leave half of the image completely in darkness, but that's what makes this image so interesting.
最后用深色画出暗部。画珠子的技术很简单，不过画出整条的珠琏是需要耐心的。
Use darker colours for the darker parts. The technique is easy, but drawing the whole chain requires patience.
你可以为暗部获得适当的曝光，或者为亮部获得适当的曝光，但通常你无法两者兼得。
You can get a proper exposure for shadows, or propper exposure for bright areas, but often, not both, and that can be a good thing.
暗部的纹理完全看不清，同样在一些亮部区域纹理也不显著，比如前额和左侧边缘。
It's also not terribly prominent in the fully lit areas of lighter halftone, such as the forehead and the left hand edge of the form.
照片展示了直射阳光下的球体。它从亮部到暗部的调子泾渭分明。这个就是素描关系。
The photograph above shows a sphere in direct sunlight. It has a distinct set of tonal steps from light to shadow, known as modeling factors.
观察一个好肖像画：暗部的过度比较柔和，最弱的边缘也许是头发和阴影交接的地方。
Look at a good head painting: the shadow side has softer transitions. The softest edges area probably where the hair meets the background in shadow.
下面的例子中，同样的可乐罐，被赋予不同的阴影和暗部之后，整个空间位置就显得完全不一样了。
In the examples below, the same Coke can is given completely different positions in space depending on its shading and shadow.
我所追求的图片效果是在获得出色的高光和阴影效果的同时，在图面的暗部和细部都仍然保存细节。
What I am looking for are nice highlights and shadows while still maintaining the detail in the really dark and light areas of the image.
这个分枝的网络控制了渲染高光的方向性，它去在表面上的暗部产生明亮，并且在表面的亮侧加暗。
This branch of the network controls the directionality of the rendered highlight, causing it to be bright on the dark side of the surface, and dark on the bright side of the surface.
因此，可以在维持图像整体的亮度的同时进行图像的暗部灰度的校正，并且可实现最佳的灰度变换。
Therefore, it is possible to correct the dark area gradation of an image while maintaining brightness of the whole image, and to realize preferable gradation conversion.
当你结束对暗部的绘制后，要用污迹之类的笔刷来平滑表面。我用的是硬的圆形的笔刷，强度为40%。
When you are finished with the shading, use a smudge tool to smooth the surfaces. I use a hard round brush with about 40% strength!
注意中央光和高光的位置是不一样的。明暗交界线是物体从亮部转入暗部的区域。这个就是光线和表面相切。
To test which areas are in light and which are in shadow, you can cast a shadow with a pencil on the object.
你将得到比用伽马1.0的时候更明亮的场景，暗部对比也不会太强，这样就可以帮助我们去控制渲染图像的暗部。
You will get your scene brighter than with Gamma 1.0 and the black part will not contrast so much too. This will help us to control the dark side of our rendering.
我要把这一部分画得再暗一些。
画面上方横着的是遥远的星星之河和暗尘云，这是旋涡星系我们的银河系银盘的一部分。
Across the top of the image runs a distant stream of bright stars and dark dust that is part of the disk of our spiral Milky Way Galaxy.
画面上方横着的是遥远的星星之河和暗尘云，这是旋涡星系我们的银河系银盘的一部分。
Across the top of the image runs a distant stream of bright stars and dark dust that is part of the disk of our spiral Milky Way Galaxy.
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