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Color String: a group of prepared paint blobs of a given gue mixed with a palette knife in a set of steps from light to dark values. a big advantage of premixing color strings is that it saves time when you're painting observationally. Ten value steps are more than you really need for most paintings. Mixing four or five steps gives you plenty of control for intermediate values. Two or three steps in the light, and two steps in the shadow for a given gue are plenty, because you can blend anything between those steps. Gamut mapping: marking the boundaries of such a shape on top of the color wheel in order to describe or define the range and limits of a color scheme. In sequential art, no color scheme stands alone. Every page, panel, or frame must be seen in relation to the one that precedes and follows it. The color script can affect mood changes along the story. It's not just the colors, but the CHANGE in colors that creates this effect.

underpaint with a tint or transparent undertone of venetian red or burnt sienna. A warm underpainting will force you to cover the background with opaques, requiring you to make mixing decisions. In paintings of blue or green tonality, little spots of the warm color peeking through will create nice contrast. Sky panels: paint the gradation of the sky first, then everything else. More colors doesn't make a better color scheme. 1. Paintings from limited palettes are more harmonious. Old masters used limited palettes by default because they just couldn't get the range of pigments we have now. 2. A limited palette forces you out of color-mixing habits. If you don't have a color called "grass green" you'll have to mix it from scratch, and you're more likely to get the right green that way. 3. Limited palettes are compact, portable, and sufficient for almost any subject. In fact you can paint almost anything in nature with just four of five colors. mix...

As things get farther away, the darkest areas are affected first, getting lighter and bluer. The illuminated sides of objects lose their saturation, warm colors growing cooler. At sunset, the effect reverses as the sun illuminates the distant background, while the foreground is cooler. At sunset, the boldest red-orange glow forms in the sky at the spot nearest where the sun crosses the horizon. In foggy/misty conditions, contrast drops off rapidly as forms recede in space. Sunlight can't penetrate the fog so light appears to come from all directions. Skyholes: silhouette of trees are almost never solid. A few skyholes let you see through them. Smaller skyholes will be a bit darker due to not being able to let as much light through. Cloud shadows and sunbeams leave a soft edge on the ground Snow and ice picks up the colors around it At the end of the day: 1. Color and light are not separate topics, but rather closely related. 2. Viewers will see the ...

Light in leaves: 1. Transmitted light, with a strongly chromatic yellow-green color. 2. The leaf in shadow, facing downward. This is the darkest green. It would be even darker if it weren't picking up reflected light from the adjacent leaf seen edge-on. 3. The leaf in shadow, facing upward. These upfacing planes are blue-green because the blue light of the sky influences them. 4. Sunlight reflecting off the top surface of the leaf. This is the highest value, and the most textural, especially at the terminator. But the chroma is not very intense, because most of the light bounces of the waxy cuticle of the leaf. Surface Subscattering: Light enters the skin or any translucent material and spreads out beneath the surface, creating an unmistakable glow. affects forms with depths and volume, such as a person's ear, a glass of milk, or a piece of fruit. Color zones of the face: light skinned faced divide into three categories: forehead is light golden, forehead to bottom...

Tips: keeping the core of shadow intact gives the form more impact group together planes that are roughly parallel don't keep textures such as skin equally prominent throughout (texture in shadow is very hard to see. texture is more visible in the halftone) under diffuse light, all upward facing planes tent to be lighter since they recieve more overall light Half shadow - "one way to create drama, especially with a vertical form, is to light the top half and leave the rest in shadow" by using a soft edge on the shadow, it appears as though something really distant is casting the shadow Occlusion shadows: dark accents where forms come close enough to each other don't forget to put them under feet to make it feel as though the person is connecting to the ground! Three-Quarter Lighting: light coming from about 45 degrees in front of the model. the light reaches most of the visible form, leaving only a fraction of the form in shadow. the light is low enough...

Force simple designs into the fewest values Graphic in nature, dimensional in execution his process, from thumbnailing to color and details:

Colors can appear different, even monochromatic (if viewed at under less than a full moon) under moonlight. Blue-green hues appear lighter in tone in dim conditions. (Purkinje shift.) Red roses look black under moonlight. To create a sense of depth, keep focus in mind. Objects not in focus appear softer and more blurry, like in wildlife photos. Goethe's color wheel: plus/warm colors represent light, brightness, force, warmth, and closeness. yellow+red+purple = feelings of radiance, power, and nobility Blue: deprivation, shadow, darkness, weakness, coldness, distance colors on the cold/minus side evoke feelings of dread, yearning, and weakness. when we look at a scene, we don't see the colors objectively. instead we construct a subjective interpretation of those colors based on context cues. to isolate colors, look through a hole in a half-closed fist, or hold up two fingers spread slightly apart 1. Simultaneous contrast: the hue, saturation, or brightness of a ba...

If you have two light sources of different colors shining on the same form, the cast shadow from each light source will be the color of the other source. Warm light leaves cool shadows, cool light leaves warm shadows. A color accent is any small area of color that is noticeably different from the rest of the colors in the composition. Usually a complement or near complement, and usually more highly chromatic than the rest of the picture. Anything different will jump out and grab the viewer's attention. A red shirt will stand out in a forest scene. It doesn't have to be the main focus of the piece, color compliments can keep a color scheme from being too mechanical or predictable.

Sunlight: a diffuse, soft light coming from many directions at once. Shadows are darker and bluer relative to the sun. As more clouds appear, shadows become grayer. With haze/smog, shadows appear relatively closer to the tonal value of the sunlight. Colors on the ground bounce up into the nearby objects. Overcast light is ideal for complicated outdoor scenes. Fall-Off: point source lights diminish after a distance according to the inverse square law Hard Light: comes from a sharp, small point. The sun or a spotlight are both relatively hard lights. Its more directional and dramatic, casts crisper shadows and brings out surface texture and highlights. Soft Light: emanates from a wider area, such as the large panel of fluorescent-like tubes over a workbench. More flattering and reassuring. Tonal transitions from light to shade are more gradual when compared to hard light. 1. Luminescent colors often gradate from one hue to another 2. Blue-green colors are most common in the oc...

Initial tones and colors are crucial the the "illusion" of reality. They define "realism." As long as the value relationships are correct, you can use any graphic representation of the optical phenomena. You can reduce a piece to basic shapes/objects and 3 tones. Good design contrasts the area of visual rest with visual complexity. shape/design = large rhythms form = contours/etching/hatching explore possibilities and comps through thumbnails When sketching from life, you have to alter values to make the design easiest to read and show intent/focus find/emphasize the rhythms! exaggerate and show depth, overlap, and form! use simple symbols that best describe the shape good value design = a clear and simple arrangement of a few tones. Simple progression of tone! REDUCE REFINE INTERPRET draw something a few times. reduce to simple clear geometric shapes and simple clear form (shadows)

1. Science of Perception: colors can be understood only in relation to each other. No color exists in isolation. Our visual experience consists of color sensations on the retina. Dissociate color from surfaces and emphasize the effects of illumination, surrounding color, and atmosphere on any perceived color. 2. Plein-Air Practice: paint outdoors. "When you draw, form is the most important thing. But in painting the first thing is to look for the general impression of color.... Always paint a direct sketch from nature every day." -Jean-Leon Gerome Contrasting saturation/rich vs poor colors can be used to create emphasis In this piece by Tom Lowell, greens contrast with reds, while yellows, violets, and blues are downplayed and muted, making the reds appear in their full intensity.