Color Blog

big shapes are important, more important than individual parts I think applying this idea to the figure would be good too, not just landscapes  graphic in nature, dimensional in execution, I'm not sure if I think this is a universal law but it works really well with Rob Ruppel's art

drawing is symbol making reduce everything to geometric shapes and the fewest values value relationships are really important thumbnil to explore possibilities test: is design interesting and possible in two values large shapes make the design, about the wholistic effect you must alter reality, not just copy what you see to make good design, alter values to make readable and demonstrate focus find and emphasize rhythms reduce refine and interpret (can draw multiple times to get to this process)

serial painting- multiple paintings from same plein air study (similar colors and landscape, same places) with different lightings etc series is when same object or perspective is painted in different light etc

Sky blue: rayleigh scattering is why the sky is blue, red and orange wavelengths are not reflected like the blue ones near the sun clouds hce dark centers and light edges , the color of sky is duller (wamrer mixes with blue)  looking away from the sun, sky is bluer and more vibrant towards violet near the horizon blue sky is lighter (looking through more atmosphere) atmospheric perspective, things in foreground if far enough in the distnce can change to match the color of the sky  white doesnt act s dark objects, gets warmer (ie sunsets) reverse tmospheric perspective happens in areas like sunsets, everything gets warmer going backwards because this is uncommon it cn be used to create feeling of strangeness or excitement Snow and clouds are different, snow is much denser and picks up reflected light Water is reflective at an angle and less so when looked at the surface straight on Wats filters out certain wave lengths first red then orange yellow leaving blue cast

transmitted light = stained glass window effect, when light travels through thin semitransparent materil it becomes richly colored (high chroma) also works with leaves subsurface scattering, light hits the translucent material and spreds out under the surface shows up most viviantly wehh you have small forms translucent flesh and backlighting color zones of the face (of light skinned) forehead light golden forehead to nose is reddish and nose to chin is bluish greenish greyish, most pronounced in men      middle of face has capillaries carrying blood, lower face is bluish due to stuble and deoxygynated blood or to emphasize red of lips to control hair make masses simple soften edges and control highlights caustics: field of optics light from refraction from water highlights arent usually white,but color of souce and local color of the object color corona, bright colored light photography clips lights and darks, colors change etc

most people are trichromats (have three color cones), they can see red-green yellow-blue and light-dark combinations and distinctions tonal stream and color streams are as different as hearing from vision; the tonal is the where (depth) and the color stream is the what in the way our brain processes information moonlight isnt really blue, its reddish but visual system tricks us into blue because of dim light (redder very slightly than sunlight) Purkinje Shift rods which are colorblind are most sensitive to green waves of light, makes us think moonlight is blue the cones closest to the rods are blue and might be rousing the cones, called the Khan/Pattaniak Hypothesis to paint nocturnes, we must remember the color effect and paint it in full in color lit studio pictures where subject is crisp and everything else is blurred is because camera is only seeing one plane, to mimic this effect do the same in paintings color constancy (thinking in terms of local colors without col

premixed paints are called a color string free mixing=mixing colors as you go The Reily Method 10 tonal steps for each hue Gamut Mapping; all of the colors needed for  a given painting is called the gamut; good color isnt just which colors you use but the colors you leave out gamut mapping is when you mark a shape on the color wheel to define whats going to be included and left out of a painting, similar to filtering but you have more control  (tringle is most common shape for gamut mapping but other shapes can be used), to use this premix the oil paints and dont touch the tubes again, this ill harmonie your colors saturation cost is the fact that secondaries are greyer (lower in chroma) than primaries color scripting: in sequential art it is important to think about surrounding color schemes, use a color script to intentionally make color gamuts match the story and its changing moods

because of the history of printing and photographs, black and white or monochrome is an artistic choice generally referencing historical events primitive groups had two words for groups of colors (we have about 12), warm and cool essentially because these were functional words, psychologically important atmospheric perspective oftentimes make further objects cooler and closer warmer additive color mixing (colored lights) triads: triadic sceme any three basic colors