Schoolism Week 06 Feedback: Atmosphere and Light

The critiques on other classmates work for week 06 of Designing with Color and Light on Schoolism made me consider how to use weather and atmosphere more to create an experience.

The following are my notes from the critiques:

Classmate 01

Look more at how saturation is affected by atmosphere. The saturation usually diminishes the further away it is. Look at how atmosphere and weather is used to create drama, emotion and mood. The above image has not pushed this. You need to take a place and turn it into an experience.

Be careful of using digital tools that might create unwanted material effects, eg.stone being made of jello.

Think of how light bounces. The buildings will bounce warm light onto the buildings behind them. This image could be pushed by increasing the drama of the backlighting and working on the weather in the sky. After feedback:

Classmate 02

Reviewing the last week, this person has made the light source and type more clear. Fowkes suggests working on the contrast in the trees. Reduce the highlights and brighten the shadows so that the contrast doesn’t compete with the characters. The cast shadows on the characters and trees should be strong enough to match the light. They can still be light on the trees. The quality of the cast shadow tells you about the quality of the light. Remove contrast in the sky if that is not the focus.

Take advantage of the sky, the weather, how elements within the environment can react to the weather, for example, rags reacting to the wind as well as dust been kicked up. Create light areas that reflect the light color and areas of shadow that reflect the sky color.

Convince the viewer of the weather with more than one element. Use the sky, transitions of color affected by atmosphere, physical elements reacting to the weather etc. Bring out colors with complimentary palettes.

Give your sky one or two point perspective. Details should diminish the further away that they are. Local values could be pushed more. Temperature and contrast change can occur in the sky.

Classmate 03

Before feedback:

How do you plan what kind of edges are where? Edges are part of the design process, on where to create depth and where to create emphasis.

Fowkes points out some of the conflicts: the magical blue and atmospheric blue are the same and a lot of areas are competing with each other because of contrast.

Make a choice of where the focus is, for example the character and the door. Desaturate the background colors so that saturation is mainly on the focal area. Darken the sky so that the contrast is less between the wooden beams and the sky.

Use the weather to direct the eye towards the story.

Classmate 04

If you’re struggling, keep practicing so as to lay the foundations. Fowkes feedback: find the simple groupings of value.

Before feedback:

After feedback:

Classmate 05

The lighting is not consistent with the silhouetting from the moon light and torch light.

After a rainstorm, think of where your reflections would realistically be. The glints that are on corners facing towards us would appear the strongest.

Think of the moon as warm neutral light shining through layers of atmosphere.

Classmate 06

Light should hit the volume of the smoke to make it more believable. For the birds, lost edges are great but still make sure that its silhouette reads, for example, the rim light and contrast.

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