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