Wednesday, February 8, 2017

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. 

Thursday, February 2, 2017

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. 


Wednesday, February 1, 2017

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