Week 05 on Schoolism Designing With Color and Light focused on creating a concept illustration using the principles so far. Fowkes encourages over and over again that the value keys should be experimented with for a wide range of contrasts e.g. high contrast, low contrast, light shapes on dark sky, vice versa and so on depending on the mood and story. He also drills the importance of considering and being clear with the type of light source and how the color of the light affects the local material color. These are all areas that I could understand more and push more.
The following are my notes from critiques on other people’s work.
Week 05 Feedback 02
Practice colour combinations x 300! This is how it will become an easier task.
Is the light direct or overcast? We can’t tell:
The above image reads nicely with dark against light and vice versus. Make a warm and cool version with adjustment layers to paint into the shadows and highlights.
To distinguish the light source, think of the colours of your highlights, halftone and core shadow, reflected light and atmospheric light. Your highlights could be blue if they are reflecting the light from the sky.
Think about what areas are in shadow and what areas are being hit by light. Areas in direct sunlight will be more yellow.
Above is if the characters are in shadow. Below shows direct light.
Week 5 classmate 03
Be careful when applying color over grey as it might turn muddy. Pay attention to how the color of the light affects the local color. A warm yellow light will create rich colors on a red surface.
Pay attention to how sub-surface scattering makes the skin feel alive.
Think of how a complimentary light source in the background can make your foreground pop.
How it began:
Week 05 Classmate 04
The image before feedback:
Study how Up! explores a wide variety of color palettes and emotions. See Bierstadt and Church.
Keep the values simple but the details lush and complex. Use a noise reduction filter on old master paintings to see their simple value structure.
If the sunlight is so hot then the highlight on a red cloak should not be so neutral.
Highlights that are further away should be less saturated? Think of how the sky can create scale and depth. The scale is now more epic by adjusting the palettes and value transition between fore and back-ground.
Week 05 Classmate 05
Don’t always use the same three values in your quick thumbnails. It’s not a formula. Experiment with the key.
Control your levels of saturation. Cast your shadows according to the type of light in your scene. Strong direct sunlight should cast strong shadows versus the lighter shadows of ambient light.
Work on transitions between warm and cool, light and dark, between space, Group your values.