根据灯光方向来设定亮部与暗部。
Introduced lights and darks according to the light direction.
下一步显示了材质亮部的变化。
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.
在考虑色域时，我们常会想到黑白照片和亮部及阴影的相互作用。
When we think of the tonal range, we usually think of black and white images and how the highlights and shadows work together.
大光源就是所谓的柔光，也就是亮部与阴影之间的过渡比较柔和。
This is generally because a larger light source will create a smoother transition between light and shadow, or what you might call softer light.
不管是处在阴影还是亮部，纹理基本上都是以相同方式渲染的。
The texture is rendered essentially the same way in the shadow as it is in the light, but in a reduced value or tone.
对于头发，使用1像素暗棕色的软毛刷绘制阴影，和褐色绘制亮部毛发。
For the hairs, use a 1 pixel soft brush with a dark brown color for the shadows, and a light brown for the lights.
在上面的这幅图片里，天空有很多种材质——太阳的亮部，云的细节构成了一个显著的焦点。
In the first photo above, there is much texture in the sky – the highlights of the sun and detail of the clouds make it a prominent focal point.
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.
材质不仅仅是亮部和阴影——它是画面整体的重要组成部分，既能烘托也能弱化画面的内在情绪。
Texture is much more than highlights and shadows - it's an important part of your overall image and how it can either work with or against the underlying emotion of your photo.
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.
同时要注意的是，沙子的材质有助于激发兴趣，尤其在落日的照耀下(那种颗粒材质的亮部和阴影)。
Also note how the texture of the sand makes for great interest, especially with the setting sun (the grainy highlights and shadows).
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.
该项目的另一部分是利用这一技术开发更亮、更高效的LED显示屏。
Another part of the project therefore aims to use the technique to create brighter, more efficient LED screens.
鞠觉亮补充说：“我从没想让这部戏还原真实，相反我想通过人物塑造、服装、造型、故事情节等方面，为当代观众呈现一部合他们胃口的戏。”
"I never wanted to make TV to be authentic but instead to make an acceptable show for modern viewers in terms of character-building, costume, make-up and storyline," Guk added.
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.
我们总是发现这亮的部分是面向着太阳的、面背着太阳的那一部分看起来就黑暗。
At other times only part of it appears bright , and we always find that this is the part which faces towards the sun, while the part facing away from the sun appears dark.
湖面上的倒影不仅只有几颗亮星，还有一部份的银河。
Visible in the lake are not only reflections of several bright stars, but part of the Milky Way band itself.
日本艺术家矶部胜士郎和水野亮延续日本的极致风格，一个用铅笔勾勒昆虫的世界，一个用圆珠笔营造异形的氛围。
The Japanese artists ISOBE Katsushiro and MIZUNO Ryo continue to follow Japanese beau ideal style, one draws the insect world with his pencils, another builds the weird atmosphere with his ball pens.
日本艺术家矶部胜士郎和水野亮延续日本的极致风格，一个用铅笔勾勒昆虫的世界，一个用圆珠笔营造异形的氛围。
The Japanese artists ISOBE Katsushiro and MIZUNO Ryo continue to follow Japanese beau ideal style, one draws the insect world with his pencils, another builds the weird atmosphere with his ball pens.
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