Week 13

Chapter 7: Premixing

Premixing is a big help for later painting. IF you have all the your color and their values and hues planned out painting goes much quicker.

Gamut Mapping

Subject secondary
subjective primary
subjected neutral

you can change the shape of the color schemes also



Color scripting using color to help a narrative.


Tuesday tips:
Business card, make orientation the same from front and back
Portfolio: best piece first, second best last, third best middle.

Week 12

Chapter 5: Paints and Pigments 96-99 104-107



tinting strength is the ability of a pigment to maintain chroma with the addition of white.

Lightfastness the resistance of a pigment in direct sunlight. This depends on the type of media and tools you are using some are better than others.

Warm Underpainting:
This adds to paintings when their is a warm color tint underneath the painting.  Painting straight on white can affect the color and make it seem more dull than having an underpainting.

Sky Panels
This is when you paint a sky gradation before actually painting the objects in the paintings.

Transparency and Glazing
Transparent pigments are best on super white backgrounds and make for better colors
glazing is a transparent layer added to a dry painting to intensify and deepen color.

Limited palettes vs wide.
limited makes for a more harmonious effect

Muddy colors

Tuesday tips
beware of tangents
Painting hair: base color, ad dark with soft brush, paint hair on a separate layer of a more saturated color of base, add highlight, add lines to create shape separation and strands, final highlight.

Week 11

Chapter 8: Visual Perception 

Light affects colors. Moonlight is actually red but looks blue because of the low light. 

Edges and depth
Depth of field effects what is is in focus and what isn't and its distinction.


AT night objects will seem blurry

Color Oppositions
Color oppositions are also used in elemental principles.


Color Constancy


Adaptation and Contrast
Simultaneous contrast
Successive contrast
chromatic adaptation
color constancy
sive of object


Appetizing and healing colors

certain colors are associated with emotions.

Week 10

Chapter 10: Atmospheric Effects

Skyblue: is affected by Solar glare and horizon glow


Atmospheric Perspective: Things tend to become lighter and bluer as the receed into the back. For dark objects. White objects they become warmer in the distance. They keep their silhouettes longest. Dust and moisture in the are can create light streaks.

Reverse Atmospheric Perspective: entire scenes can get warmer as they go back. instead of the opposite.

Golden Hour Lighting: Dawn and Dusk
Colors become bold and dramatic The sun i slow that it travels parallel to the earth. Giving light a golden color to it. 

Sunsets: From orange to violets and dawn is opposite.

DAwn


Fog, Mist, Smoke and Dust
contrast drops off rapidly as things recede in space. The light seems to come from all directions.

Rainbows:
Color should be lighter than the back ground. they should also be semi transparent against the background.

Sky Holes and Foliage
The spaces in between branches that let light through. Foliage tends to be different degrees of transparency.

Sun Beams and Shadows
Sunbeams require: high screen of clouds, foliage, or architecture with openings. tehir needs to be a darker backdrop around the sunbeams to be seen. Dust or vapor in the air. When looking towards the sun.  edges become softer further away from the sun. Remember to adjust colors accordinly for sunbeams. shadow beams

Dappled Light
taller trees make for larger sunspots with soft edges smaller trees have smaller and more clear

Cloud shadows
You can use them to draw attention to spotlight areas. The margin of light and shadow must be soft edges. Half a city block to transition from sunlight to shadow. Size and spacing must match clouds visible in the sky shadows in the shaded area aren't as blue cast as the would be in the sun.

Illuminated foreground.
middle distance in shadow, put a ton of detail in the foreground. used for putting attention something before leading you further into the picture.

Snow and Ice
Snow is whiter than foam and clouds usally. It also picks up the color of everthing around it. sunny = blue shadows, overcast = grayer shadows. Subsurface scattering.

Water: reflection and transparency
reflection: bouncing rays, Refracted: rays traveling down.
cast shadows only in shallower water

Tuesday Tips:
Straights are usually bones, curves are muscle and fat
group fingers
inside ankle bone is slightly higher
crop: 2/3s or 3/4s, no edges or joints
No straight lines

Week 9

Chapter 11: Light's changing show
Serial Paining: creation of multiple plein air painting studies of the same subject under different lighting conditions or the making of a set of closely related studies.
Storyboard parts of your daily life with color.


210 good review of book

Tuesday tips:

Push it! always push character poses for more clear line of action
Quick bold gesture, Shapes/ angles, Volumes
Line of action is important
Dominate character higher on screen, use line of action, closed stance = lower open stance = higher, Forward= power recoiled = defensive.
Don't mull over anatomy design, first focus on acting, the mood of the pose

Week 8

No Reading.

Week 7

Chapter 6: Color Relationships

Monochromatic Schemes: Taking a single color and only using the values of that one color. 

Warm and Cool
Think about how warm and cool colors have psychological effects like blues are sad and yellows are happy. 

Colored Light Interactions:
When two colros shine on one thing they mix and create new color behaviors on the object
Additive mixing is the blending of color in the eye rather than the pigments.
Subtractive mixing. 
Complementary shadow color


Triads:
A scheme is composed of three basic colors

Color Accent: a small area of color that is noticeably different. Good attention grabbers.

Tuesday Tips :
THink of basic color you want to use, make dfferent combinations of the same hue but change the saturation and value. thumb nail it out
Use a color anchor to plan out the rest of your colors with different color combos
90/10 rule: uses contrast in value, hue, or saturation. 10% should be the most important part of your piece.
70/20/10 contrast with an accent, this can also be split into smaller parts of the piece
Split complementary
Filter-pixelate-moaic= resaturate the colors for a color palette
Gliter: local color, darker texture, lighter texture (dodge), stars
thumbnail, color comp, clean up drawing form color comp, refine

Week 6

Color and Light Chapter 4: Elements of Color
The Munsell system is a different version of the color wheel with 10 separations. making it more equal.

RGB color is the primary colors of light as opposed to pigment.
Yurmby Wheel  is universal color wheel.

Chroma and value

Different colors have different peak chroma values. 

local color: the color of the surface of an object as it appears close up in white light

Greys and Neutrals: opposite of intense colors, actually make bright colors look brighter when used together.

Green Problem: Make green from blue and yellow pigments and get rid of your greens. Avoid monotony vary the mixutres from tree to tree or leaf to leaf. Smuggling reds. Prime the canvas with pinks or reds so they show through here and there to enliven the greens

Gradation: Colors that transition from each other smoothly.
Adding white to a color makes a tint

Chapter 2: Sources of Light

Direct Sunlight: The sun, the blue sky, and the reflected light from the ground

Overcast Light:Color appear purer here and the constrast isn't extremely high

Window light: This simplifies the shadow work

Candle light and Firelight: They act different depending on if the sun is up or not and be sure to remember the fall off depending on how bright the sources are. Yellow orange color usually.

Indoor Electric Light:
Incandescent and Fluorescent: Relative brightness, hardness or softness, and color cast.
Hard light is more directional and dramatic. Softlight emanates from a wider area. Incandesent lights are strongest in orange and red wavelenghts. Meaning reds look good and blues look dead.

Streetlights and Night Conditions:
Moonlight: bluegrey colors and orange flame based light.

Luminescence:
Colors gradate from one hue to another
Add the glowing effects of luminesence last to a painting.

Hidden Light Sources:
This can make a painting more dynamic if it isn't obvious where the source is in the painting.

Tuesday Tips:
Stylizing an object, sketch it out a ton but paint from your study not from life.
Making a series from a painting, make thumbnails based on painting, see how the thumbnails look together. make a color comp using only colors from the painting. Finish them.

Week 5

Color and Light 9: Surfaces and Effects

Transmitted light: when light travels through thin or semi transparent material it becomes richly colored vs bouncing light is dull. 

Four types of light on leaves:

1-Transmited light strong chromatic color 

2 leaf in shadow, it's dark where reflected light can't reach it as well. DOWN more green because they are getting light from the sun.

3 Leaf in shadow facing up, has blue in it from reflected light from the sky. UP. 

4 is the sunlight reflecting off the top and highest value but less chroma because the surface is waxy so we see more reflection. 

When painting trees leaves react the same way but in groups instead of individually.

 

Subsurface Scattering:

When light enters skin or any translucent material and spreads out beneath the surface creating a glow. Requirements: translucent flesh, small forms, and backlighting. 

Color Zones of the Face:

Hair:

Keep the masses simple, soften the edges, and control the highlights

Highlights go across the curve not along it! 

Caustics

When water causes light to focus into rays, spots, or lines. (like a class of water or underneath the water or the glass) 

Caustics from Transparent objects: light bounces up and forms lines along the boundary of geometric shapes depending on the curvature of the object. 

Underwater: 

They don't occur more than twenty or thirty feet below the surface. Only visible on the tops of surfaces under the water. 

Caustic Reflections: 

reflections from water glass or metal can be cast upwards. 

Specular Reflections:

An object with a shiny surface will reflect the objects around it. 

Diffuse reflection is light bouncing off a matte surface. 

Rules: The more reflective the surface the broader the range of values

Convex reflected surfaces like chrome reflect a miniature view of what's around it and more than what's in the composition. 

The specular pattern is separate layer added on top of the usual modeling factors 

Highlights:

Specular Highlights

Annular Highlights

Color Corona:

When light is super bright the area color around it

Motion Blur:

Camera stays still and object is moving or speed blur as the camera moves along with an fast moving object. Speed blur the background blurs radially from the vanishing point! Only lines perpendicular blur

Photos vs observation

Photos loose color and darken shadows. Cameras can't catch everything we see. 

Tuesday tips!

Clear silhouette turn your pose into a silhouette and if it doesn't read its not a good pose Separate objects to clarify and use shapes to point to things. 

Check your value: 

Check the values of your image for the right level of contrast, no matter how many colors you use your image will read. 

Reading 4

Graphic LA: 68-75, 96-105, 129-133
Remember Overlap, depth and form
think of the simplest shape 
Draw now, Judge later. 
30-70 ratio
Change shape and proportion, explore the composition. 

Reading 3

Tuesday Tips: Pen is better for quick sketches, confident lines. 100 ways to show value with pen in different textures
Types of shots:
Straight on
Extreme wide shot
Close up
Dutch angle
upshot
Downshot
group shot
over the shoulder
Back to the camera
looking over the shoulder
cutting on action

Silhouettes in storytelling, help things show emotion, importance of a group, focus on what someone is looking at, creates emotion, and more.

Light and Color: Chapter 3
Form and Light


Separation of light and shadow

Casts Shadows:
Think about how reflected light changes shadows color temperature and direction
Think about hard light and soft light vs shadows
Think about how distance affects shadows.

Half Shadows
half the object in shadows creates drama.

Occlusion Shadows:
Shadows of objects near enough each other to block the the light.

Three Quarter Lighting: Key lights and fill lights

Rembrant lighting

Frontal Lighting: Light that shines directly toward the model from the viewer's perspective.
Edge lighting: comes from behind to touch the sides of the form, separating it from the background.

Contre Jour: is a type of backlighting were a subject blocks the light, often standing against a bright sky or an illuminated doorway.

Light from Below: magical sinister or dramatic lighting from below:

Reflected Light:
Upfacing planes are cool and downfacing planes are warm
Reflected light falls off quickly from source
Shadow is the sum of all reflected light colors
outside shots warm ground light and blue skylight

Spot lighting:
Different forms will react to light differently, solid objects vs clouds vs leaves.

Reading 2

Tuesday tips:
Composition, think about where your focus is and the rule of thirds
Thumbnails, simpler and messier the better, crank them out, then narrow it down.

Graphic La: 18-37
Thumbnail out  the value pattern that represents the scene (look for the major contrasts of value and then design them just don't copy)
Think of straights and curves
Contrasts with visual complexity: 

Shape/ Design = rhythms
Form=shading dimensionality

Starting a piece think about the lightest light and darkest dark first and design from the values up

Reading 1

Graphic LA: 5-17
Drawing is symbol making
Think about shapes and textures
low values help achieve shapes


Color and Light: Chapter 1
Science of Perception how colors and atmosphere work together to create what we are seeing and not what is actually there.
New pigments really helped the old masters evolve
Plein-Air Practice: painting became easier to do on the move outside

Stanhope Forbes Fish sale
Twilight in the Wilderness Frederic Chruch Hudson river school
Plein Air movementsArthur Streeton Purple noons
Symbolist, Adolf Hirschi End of the world
Magazine, Tom Lovell, Illustration