東荷美術教育機構-升學、興趣

東荷美術教育機構-升學、興趣 小班制的學習環境，
為您量身規劃最佳進度。

📍 新北市板橋區北門街62號 (北門班部)
📞 02-2272-8772 (一、二公休)
　
📍 新北市板橋區中山路二段100號5樓 (埔墘班部)
📞 02-8953-6659 (日、一公休)
(1)

渴望在視覺藝術領域深入發展？
東荷課程涵蓋各種視覺藝術的不同面向，
小班制的學習環境，
為您量身規劃最佳進度。

🏢 新北市板橋區北門街62號 (北門班部)
📞 02-2272-8772 (週一、二公休)
🏢 新北市板橋區三民路二段203-9號2樓 (三民班部)
📞 02-8953-6659 (週日、一公休)

《關於色鉛筆不算是有顏色的鉛筆，其實比較像是蠟筆這件事》從前從前，一群顏料粉末朋友想一起出門，但他們實在太脆弱，風一吹就不知道飄到哪裡去。正當色粉們煩惱時，冒失的氧化鐵紅，踢翻了蠟燭，蠟油噴得對面的群青滿身都是，驚魂未定的群青卻發現，自己變...
12/08/2026

《關於色鉛筆不算是有顏色的鉛筆，其實比較像是蠟筆這件事》

從前從前，
一群顏料粉末朋友想一起出門，
但他們實在太脆弱，
風一吹就不知道飄到哪裡去。

正當色粉們煩惱時，
冒失的氧化鐵紅，
踢翻了蠟燭，
蠟油噴得對面的群青滿身都是，
驚魂未定的群青卻發現，
自己變得像黏土一樣不會到處飛散，
於是所有人也都爭相模仿。

但過沒多久，
冒失的氧化鐵紅，
撞上了孔雀石綠，
搞得兩個人雙雙骨折，
大家只好合力，
用兩條木片幫他們上了固定夾板。

於是他們成為了色鉛筆。

　《怪獸電力公司 - 大眼仔》
　色鉛筆・16開
　莊文仁老師

Colored Pencils Aren't Actually Colored Pencils. They're Basically Crayons.

Once upon a time,
a bunch of little pigment friends wanted to go out together.

But they were too fragile —
one gust of wind and they'd scatter who knows where.

While the pigments were fretting over this,
the careless Iron Oxide Red kicked over a candle.

Wax splashed all over Ultramarine,
who was standing across from him.

Still shaken, Ultramarine discovered
he'd become something like clay —
no longer flying off everywhere.

So everyone else scrambled to do the same.

But not long after,
the careless Iron Oxide Red
crashed into Malachite,
and they both ended up with broken bones.

Everyone had to work together
and make them splints out of two strips of wood.

And that's how
they became colored pencils.

　* Monsters, Inc. - Mike Wazowski *
　Colored pencil on paper, 27 × 19 cm
　Wen-Jen Chuang

冰原歷險記那隻松鼠，其實是疫情受害者。冰原歷險記是藍天工作室的成名作，尤其是那隻追著橡果的松鼠。鼠奎特這個角色，來自設計師在博物館的一張松鼠速寫，為了讓牠更符合冰河時代，而加上一對劍齒，所以牠其實是隻虛構生物。但2011年，阿根廷古生物學家...
05/08/2026

冰原歷險記那隻松鼠，
其實是疫情受害者。

冰原歷險記是藍天工作室的成名作，
尤其是那隻追著橡果的松鼠。
鼠奎特這個角色，
來自設計師在博物館的一張松鼠速寫，
為了讓牠更符合冰河時代，
而加上一對劍齒，
所以牠其實是隻虛構生物。

但2011年，
阿根廷古生物學家在真實世界，
挖出和動畫角色符合的史前化石，
鼻吻突出、門牙外露，
命名為Cronopio dentiacutus。

令人惋惜的是，
工作室在2021年因疫情帶來的財政問題而關閉，
正式結束營運前，
員工自發製作了非官方道別影片，
讓這隻松鼠終於能吃到橡果。

　《冰原歷險記－鼠奎特》
　色鉛筆・16開
　莊文仁老師

That squirrel from Ice Age? Turns out he was a pandemic casualty too.

Ice Age was Blue Sky Studios' breakout hit,
especially that squirrel chasing his acorn.
Scrat started out as
a squirrel sketch one of the designers drew at a museum,
and to make him fit the Ice Age setting,
they gave him a pair of saber teeth,
so technically, he was never a real animal.

But in 2011,
paleontologists in Argentina
dug up a fossil that matched him almost exactly,
long snout, jutting front teeth,
and named it Cronopio dentiacutus.

Sadly,
the studio shut down in 2021 under the financial strain of the pandemic.
Before it closed,
the staff put together a farewell video on their own,
finally letting that squirrel get his acorn.

　* Ice Age - Scrat *
　Colored pencil on paper, 19 × 27 cm
　Wen-Jen Chuang

「人生總是這麼難，還是只有小時候才會這樣？」「總是如此」娜塔莉·波曼在哈佛大學主修心理學，是奧斯卡、金球獎等電影獎項的獲獎常客。她在盧貝松的終極追殺令裡以童星出道，與尚·雷諾演對手戲，飾演一位追隨殺手的少女而一舉成名。之後在喬治·盧卡斯的星...
29/07/2026

「人生總是這麼難，還是只有小時候才會這樣？」
「總是如此」

娜塔莉·波曼在哈佛大學主修心理學，
是奧斯卡、金球獎等電影獎項的獲獎常客。

她在盧貝松的終極追殺令裡以童星出道，
與尚·雷諾演對手戲，
飾演一位追隨殺手的少女而一舉成名。
之後在喬治·盧卡斯的星際大戰三部曲中，
以艾米達拉女王一角更加廣為人知。

終極追殺令中的波曼，
是失去了家庭並渴望愛的早熟少女，
尚雷諾是頂尖殺手，但不懂戀愛，
甚至像個還沒長大的孩子。

這樣的兩個人在劇中的相遇，
就像是兩個都沒有童年的人，彼此互補。

　《娜塔莉·波曼》
　水彩・16開
　學員作品-張同學

Is life always this hard, or is it just when you're a kid?
Always like this.

Natalie Portman majored in psychology at Harvard, and remains a familiar name at the Oscars, Golden Globes, and beyond.

She made her debut as a child actress in Luc Besson's Léon: The Professional, playing opposite Jean Reno as a girl who becomes a hitman's protégée — a role that made her name overnight. She became even more widely known soon after, playing Queen Amidala in George Lucas's Star Wars prequel trilogy.

In Léon, Portman plays a girl who has lost her family and is starving for love, precocious beyond her years. Jean Reno's Léon is a top-tier assassin who has no idea how to love — in some ways, still a child himself who never got the chance to grow up.

Two people who never had a childhood, meeting each other in the middle of it all — each becoming what the other was missing.

　* Natalie Portman *
　Watercolor on paper, 19 × 27 cm
　Student Work—Zhang

#水彩 #畫室 #板橋

你打個噴嚏，就錯過了人家認真拍的十幾張攝影你知道嗎？我們看的影片並不真的是「會動的畫面」，說穿了其實是按照順序快速的看了一堆照片，那一張一張的照片就叫做「幀」。有在玩遊戲的人一定常聽到FPS這個詞，那指的就是「每秒幀數」，意思是每秒有多少張...
22/07/2026

你打個噴嚏，就錯過了人家認真拍的十幾張攝影你知道嗎？

我們看的影片並不真的是「會動的畫面」，
說穿了其實是按照順序快速的看了一堆照片，
那一張一張的照片就叫做「幀」。
有在玩遊戲的人一定常聽到FPS這個詞，
那指的就是「每秒幀數」，
意思是每秒有多少張照片，
也就是「影格」。
而在動畫產業中，
一般的幀數是每秒24個影格。

這兩個角色來自提姆·波頓的動畫作品：
《科學怪犬》與《地獄新娘》。
他是一位知名的美國導演，
以陰森、怪誕的風格而聞名，
這兩部都是他以定格動畫方式拍攝的偶動畫。

偶動畫、定格動畫是什麼呢？
簡單說就是使用黏土、泡棉、羊毛氈等材質，
做成真實的角色、場景，
精心設計好畫面後拍下來，
之後微調人物動作和環境，
然後再拍一張。
如此往複循環後的攝影照片，
再把它接成動畫影片。
一整天下來，動畫師也只能完成幾秒的影片，
而全片大約使用了十萬左右的影格。

為表敬意，是不是先從看影片不眨眼開始呢？

　《地獄新娘》
　鉛筆素描・8開
　莊文仁老師

Sneeze, and you'll miss more than a dozen photos someone worked hard to shoot. Did you know that?

Truth is, what we're watching isn't really "moving pictures." Strip it down, and it's just a stack of photos, played back in rapid succession, quick enough to create the illusion of motion.
Each one of those photos is called a "frame."
If you play video games, you've probably heard the term FPS — frames per second. That's exactly what it means: how many of those photos flash by, every single second.
In the animation industry, the standard is 24 frames per second.

These two characters come from two of Tim Burton's animated films: Frankenweenie and Co**se Bride. He's a well-known American director, famous for his eerie, macabre style. Both films were shot as stop-motion puppet animation.

So what is puppet animation — what is stop-motion, exactly? Simply put, you build real, physical characters and sets out of materials like clay, foam, and wool felt. You carefully compose the shot and take a photo. Then you nudge the character's pose and the surroundings, and take another. Repeat this process hundreds, even thousands of times, and you string the photos together into a moving film. Even working a full day, an animator might only finish a few seconds of footage — and the whole film ends up using something like a hundred thousand frames.

So out of respect, maybe we should all try watching this without blinking once?

　* Co**se Bride *
　Graphite on paper, 26 × 38 cm
　Wen-Jen Chuang

#素描

動畫的角色設計是怎麼做的？一部動畫在製作前，會有大量的前置作業。以角色設計來說，有時會先繪製多張純黑剪影，只測試造型本身能否被辨識，即使畫面縮小、拉遠，能不能在幾秒內辨識出角色？但通常都需要先畫出大量設計稿，與導演/監督/製作人/客戶來回討...
15/07/2026

動畫的角色設計是怎麼做的？

一部動畫在製作前，
會有大量的前置作業。

以角色設計來說，
有時會先繪製多張純黑剪影，
只測試造型本身能否被辨識，
即使畫面縮小、拉遠，能不能在幾秒內辨識出角色？
但通常都需要先畫出大量設計稿，
與導演/監督/製作人/客戶來回討論確認方向，
甚至準備多個角色設計案來挑選，
而這其中也包含了形狀語言與色彩心理學的斟酌，
歐美動畫體系比日本動畫產業更重視立體結構，
甚至會使用黏土泥塑模型與3D建模來輔助定案。

定稿後會整理出設定資料集，
包含角色比例對照、三視圖、表情集、服裝變化、配件等…
因為動畫製作是由多位甚至上百位畫師分工的大型工程，
需要詳細的統一規格，
才能確保全程風格一致、避免混雜畫師手癖等問題。

你知道嗎？
冰雪奇緣中艾莎的前期設定稿長得完全不同，
航海王妮可·羅賓初期設定其實是男性、喬巴拿著雙刀還抽煙，
玩具總動員的初版胡迪是邪惡的腹語木偶...

　《角色》
　鉛筆素描・16開
　莊文仁老師

How is a character actually designed for animation?
Before a single frame gets made,
there's a huge amount of groundwork.
For character design specifically,
the process sometimes starts with pure black silhouettes,
testing whether the shape alone can be read—
shrink it down, push it back, can it still be identified within a few seconds?
But the standard path is dozens of design passes,
going back and forth with the director / supervisor / producer / client to lock down direction,
sometimes with multiple full character options pitched side by side,
weighing shape language and color psychology along the way.
Western animation tends to lean harder into three-dimensional structure than the Japanese industry does,
sometimes even sculpting a clay maquette before the design ever moves into 3D modeling.
Once the design is locked, it gets built out into a full model pack—
proportion charts, turnarounds, expression sheets, costume variants, prop details, and more.
Because a single production runs through dozens, sometimes hundreds, of artists,
that level of specification isn't optional—
it's the only thing keeping the whole show on-model instead of splintering into everyone's individual hand.
Did you know?
Elsa's early concept art in Frozen looks nothing like the character on screen.
One Piece's Nico Robin was originally male, and Chopper once carried twin blades and smoked.
Woody's very first version in Toy Story was an evil ventriloquist dummy...

　* Role *
　Graphite on paper, 27 × 19 cm
　Wen-Jen Chuang

#素描 #美術 #設計

你怎麼「看」這張圖？人眼不是相機，不能一次擷取整個影像，所以當一個畫面出現在眼前，一定會聚焦在某些物體上，這就是「視覺焦點」。在看到圖的第一瞬間，目光習慣會移動到畫面正中偏下搜尋目標，接著會發現這個區域，設計了一支亮暗對比明顯的大螯放在這裡...
08/07/2026

你怎麼「看」這張圖？

人眼不是相機，
不能一次擷取整個影像，
所以當一個畫面出現在眼前，
一定會聚焦在某些物體上，
這就是「視覺焦點」。

在看到圖的第一瞬間，
目光習慣會移動到畫面正中偏下搜尋目標，
接著會發現這個區域，
設計了一支亮暗對比明顯的大螯放在這裡，
然後目光會馬上被面積更大的背甲吸引，
尤其是背甲前緣的鋸齒狀尖刺與眼睛，
因為大量的刻畫細節都被安排在這邊。

至此，大腦已經能經由圖像記憶庫辨識出螃蟹。

可能有些人會在這時候選擇滑走，
如果沒有，
或許能在畫面其他區域發現更多補充資訊，
例如皺折的報紙、與凌亂感相呼應的線條筆觸、
再回頭細看蟹螯因強烈對比與銳利線條帶來的堅硬感…

從而聯想到隱含寓意、延伸思考。

當然，不同的畫面尺寸與觀看距離，
順序也會有些微差異。

這就是視覺原理，一種縝密的科學，
也是藝術家精心設計的敘事節奏。

　《螃蟹》
　鉛筆素描・8開
　莊文仁老師

How Do You "See" This Image?

The human eye doesn't work like a camera. It can't take in an entire image all at once. Whenever a scene comes into view, your attention naturally settles on certain elements first. This is what we call a visual focal point.

At first glance, your eyes instinctively search around the lower center of the composition. There, a large crab claw with strong light-and-dark contrast has been deliberately positioned to catch your attention.

Your gaze is then drawn to the much larger carapace, particularly the serrated edge along its front and the crab's eyes, where the greatest concentration of visual detail has been carefully placed.

By this point, the brain has already recognized the subject by matching these visual cues with its stored visual memory.

Some people may stop here and scroll past.

Those who stay, however, may begin to notice other details: the creases in the newspaper, the expressive linework that reinforces the sense of disorder, or, returning to the claw, the hardness conveyed through its stark contrast and sharp edges.

These details invite further interpretation and encourage the viewer to reflect on the ideas embedded within the image.

Naturally, the sequence of visual attention will vary slightly depending on the image's size and the viewing distance.

This is one of the fundamental principles of visual perception—a remarkably precise process, and one that artists deliberately use to shape the rhythm of visual storytelling.

　* A Crab *
　Graphite on paper, 38 × 26 cm
　Wen-Jen Chuang

#素描 #藝術 #畫室

這個世界是殘酷的，卻又如此的美麗。心理學上有個「注意力恢復理論」，提到人長時間處在需要專注的環境，會累積定向注意力疲勞，面對反覆撲打上岸的浪花、緩緩飄動的雲朵...能讓緊繃的注意力暫時鬆綁，同時把心理資源釋放出來、緩解認知疲勞。當外界刺激降...
01/07/2026

這個世界是殘酷的，卻又如此的美麗。

心理學上有個「注意力恢復理論」，
提到人長時間處在需要專注的環境，
會累積定向注意力疲勞，
面對反覆撲打上岸的浪花、緩緩飄動的雲朵...
能讓緊繃的注意力暫時鬆綁，
同時把心理資源釋放出來、緩解認知疲勞。

當外界刺激降低，
大腦就有餘裕把資源轉向內在思考，
例如進擊的巨人中的「海的另一邊是敵人嗎？
如果沒有了敵人就能得到真正的自由嗎？」
這類人生議題。

我們知道世界很大
但實際上一定比我們想像中的尺度還大，
有火焰之水、冰之大地、砂之雪原，
還有商人一輩子也取之不盡的巨大鹽湖。

暑假，就是一年之中最適合親眼去見證世界的機會。

我們很幸運擁有易於抵達的海洋，
你甚至能夠現在就出發，
晚上再回家睡覺。

　《日光照耀下的濱海之家》
　水彩・8開
　楊仲禹老師

This world is cruel, and yet so beautiful.
There's a concept in psychology called Attention Restoration Theory. It suggests that when we spend long stretches of time in environments that demand focus, we build up what's called directed attention fatigue. But something changes when we watch waves roll endlessly onto shore, or clouds drift lazily overhead — that gentle, undemanding rhythm lets our overworked focus finally loosen its grip, freeing up mental resources and easing that fatigue.
Once the outside noise fades, the mind has room to turn inward — toward the kind of questions that don't have easy answers. Like the line from Attack on Titan: "Is the enemy really on the other side of the sea? If we got rid of them, would we finally be free?"
We already know the world is big. But it's bigger than we can actually picture — there are seas of fire, endless fields of ice, deserts of sand, and salt lakes so vast a merchant could spend a lifetime and never run out.
Summer is the one time of year that's practically built for going out and seeing it all with your own eyes.
We're lucky enough to have an ocean we can reach without much effort at all. You could leave right now, and still be home in time for bed.

　* Houses by the sea in the sunlight *
　Watercolor on paper, 26×38 cm
　Chung-Yu Yang

#水彩 #進擊的巨人

你畫的金屬不是金屬，玻璃也不是玻璃。繪畫表現中，金屬與玻璃都有類似的困難點，因為他們與其他靜物的不同是：強烈的光學反射與折射。所謂反射，是反映對象物以外物品的色彩，而折射是對象物本身與其他物品的混合型態。也就是說，雖然畫著金屬，但其實是在表...
24/06/2026

你畫的金屬不是金屬，玻璃也不是玻璃。

繪畫表現中，
金屬與玻璃都有類似的困難點，
因為他們與其他靜物的不同是：
強烈的光學反射與折射。

所謂反射，是反映對象物以外物品的色彩，
而折射是對象物本身與其他物品的混合型態。

也就是說，
雖然畫著金屬，
但其實是在表現被它反射照映出的窗戶、天花板的燈、甚至自己的身影，
雖然畫著玻璃，但表現的是它背後的牆面、沙漏支柱、被裝在其中的沙子…

空間場域中的各種物品被扭曲造型、改變色彩、融合並濃縮在這種材質之中，
經由多種鏡射、折射、散射、漫射，
以它自身的特性詮釋表現出來。

人與人之間的溝通、互動、誤解與同理何嘗不是如此？
我們以為看見的是對方，
其實看見的，往往還有自己。

　《金屬沙漏》
　鉛筆素描・16開
　莊文仁老師

What you're drawing isn't really metal.
And glass isn't really glass, either.
In representational drawing, metal and glass share a similar challenge:
unlike most still-life objects, they live by reflection and refraction.
Reflection reveals the colors and forms of things outside the object itself.
Refraction blends the object with its surroundings, bending and transforming what we see.
So when drawing metal, you're not really drawing the metal.
You're drawing the window reflected on its surface, the ceiling light above it, perhaps even your own silhouette.
And when drawing glass, you're drawing the wall behind it, the frame of the hourglass, the sand contained within it.
The objects that inhabit a space become distorted, recolored, compressed, and fused together within these materials.
Through reflection, refraction, scattering, and diffusion, each material translates them in its own way.
Isn't human communication much the same?
In our conversations, our misunderstandings, our moments of empathy,
we believe we are seeing another person.
Yet what we see often includes ourselves.

　* Metal Hourglass *
　Graphite on paper, 27 × 19 cm
　Wen-Jen Chuang

#素描 #畫室 #板橋

蒸汽龐克這個詞，來自一個作家的玩笑。把科幻小說始祖儒勒·凡爾納的《海底兩萬哩》中，齒輪、鉚釘、黃銅、壓力計轉譯成視覺語彙的，是1954年迪士尼同名電影的鸚鵡螺號設計，被視為蒸汽龐克視覺美學的重要參照點，比「蒸汽龐克」這個詞的誕生還早。198...
17/06/2026

蒸汽龐克這個詞，來自一個作家的玩笑。

把科幻小說始祖儒勒·凡爾納的《海底兩萬哩》中，
齒輪、鉚釘、黃銅、壓力計轉譯成視覺語彙的，
是1954年迪士尼同名電影的鸚鵡螺號設計，
被視為蒸汽龐克視覺美學的重要參照點，
比「蒸汽龐克」這個詞的誕生還早。

1987年，作家 K.W. Jeter 寫信給科幻雜誌，
想幫自己的維多利亞風格小說找個統稱。
當時賽博龐克正在爆紅，於是提議了「蒸汽龐克」這個詞。
雖然那只是一個玩笑話，
意在調侃賽博龐克爆紅之後「隨便換個前綴就能成立新浪潮」的風氣。
但玩笑被接受，沿用至今，還繁衍出類似的命名家族。
而其中的「龐克」二字，基本上只是從賽博龐克借來的響亮後綴，
與龐克的反文化立場一點關係都沒有。

蒸汽龐克是二十世紀人們對「未來」的想像，
電影回到未來第三集，
布朗博士駕駛的蒸汽火車時光機，
就充滿了蒸汽龐克的風格。
有趣的是，
走出時光機的兩個兒子，叫做儒勒和凡爾納。

From 中村 一彦 / KAZUHIKO NAKAMURA

　《蒸氣龐克 — 機械骷髏》
　鉛筆素描・8開
　莊文仁老師

The word "steampunk" came from a writer's joke.
The gears, rivets, brass, and pressure gauges in Jules Verne's Twenty Thousand Leagues Under the Sea — the foundational text of science fiction — were first given a visual form by the Nautilus design in Disney's 1954 adaptation. That design is widely regarded as one of the key visual references for the steampunk aesthetic, and it predates the word itself by thirty years.
In 1987, author K.W. Jeter wrote to a science fiction magazine looking for a collective term for his Victorian-era novels. Cyberpunk was having a moment, so he tossed out "steampunk." It was meant as a joke — a jab at how cyberpunk's overnight success had everyone convinced that a new movement was just one prefix-swap away. The joke landed. The word stuck. It went on to spawn an entire naming family. And the "punk" in steampunk? Essentially just a borrowed suffix — catchy, but with no real connection to punk's actual countercultural roots.
Steampunk is the twentieth century imagining what the future might have been. In Back to the Future Part III, Doc Brown's steam-powered locomotive time machine is the genre made literal. Funnily enough, the two sons who step off that train are named Jules and Verne.

From 中村 一彦 / KAZUHIKO NAKAMURA

　*Steampunk - Mechanical Skull*
　Graphite on paper, 38 × 26 cm
　Wen-Jen Chuang

#素描 #板橋畫室

藝術，不只是練習繪畫技巧。東荷美術教育機構，在新北市板橋深耕藝術教育超過二十年。這裡沒有升學補習班的擁擠，也不使用統一範本與制式教學；因為每個人的目標與進度都不相同。無論是對藝術的興趣而展開創作，或是準備藝術相關科系的升學，你可以在這裡探索...
10/06/2026

藝術，不只是練習繪畫技巧。

東荷美術教育機構，
在新北市板橋深耕藝術教育超過二十年。

這裡沒有升學補習班的擁擠，
也不使用統一範本與制式教學；

因為每個人的目標與進度都不相同。

無論是對藝術的興趣而展開創作，
或是準備藝術相關科系的升學，

你可以在這裡探索素描、水彩、色鉛筆、油畫、水墨、美學、創意、分鏡、數位繪圖等不同媒材與創作形式，

也提供針對美術班，以及美術、視覺傳達、動畫、電影、工業設計、室內設計、服裝設計、劇場設計、牙醫雕塑等相關科系的作品集準備與升學輔導。

這個暑假，來畫室走走吧！
　　　　　
📍 新北市板橋區北門街62號 (北門班部)
📞 02-2272-8772 (一、二公休)
　
📍 新北市板橋區中山路二段100號5樓 (埔墘班部)
📞 02-8953-6659 (日、一公休)

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