Schoolism: Nathan Fowkes Color and Light Week 04

Week 04 focused on creating images that feel emotionally different in both greyscale and color. You should change the lighting, the atmosphere, the local colors and value arrangements. When you’re working on skies, think of structure and perspective.

“Don’t miss your opportunity to practice. The river of life will rush you forward so stop and revise now!! Practice now!” – Nathan Fowkes

Color is scripted with emotion.

 

Student work on Schoolism:

 

The common feedback was that the values and local colors weren’t pushed far enough.

Week 04 Feedback 03

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For doing an overpainting on top of a value scale, first bring your levels into the mid-range so that the colour will be picked up (in the color blending mode).

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Start by painting as if it’s an overcast day and then bring in light variations from there. Think in terms of local color first. If you’re working from grayscale to color, then a color overlay layer will work better over mid-range values. Be conscious of how atmosphere might cool colors in the distance. Then add a value adjustment on top of this to bring the values back.

Once the overlay is laid down, then start opaque painting. Think what the color, halftone, highlight and shadow would be. Think of how the light is bouncing from the sky and adjacent surfaces.

Starting with an overcast lighting setup, create a direct sunlight, sky light and bounced light versions for masking.

Direct sunlight:

Screen Shot 03-25-17 at 06.01 PM

Sky light:

Screen Shot 02-20-17 at 08.04 AM

Bounced light:

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Our generic scene to reveal layers upon.

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Week 04 Classmate 06

Think of the sky as a gradation of colors. The sky behind you might be a different color versus what is in front of you, e.g. the sky might be warmer near the sunset and cooler behind. The color of the shadows facing the sky will take on the color of the sky. Shadow color can enhance the other colors of the painting.

Screen Shot 04-06-17 at 09.40 PM

 

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