Nov 16 - Cal 10-11: Atmospheric Effects

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 subject, but feel the color and light.
3. Choose a lighting plan and stick to it.
4. Know your wheel.
5. Know your gamut.
6. Vision is an active process.
7. There is not a single brand of realism.
8. Compare, compare, compare.
9. The outer eye fuels the inner eye.
10. We are fortunate to be living today.

Comments

Post a Comment

Popular posts from this blog

Dec 14 - CaL 7: Premixing

Image
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.
Read more

Dec 7 - CaL 5: Paint and Pigments + pgs 96-99, 104-107

Image
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...
Read more