Ch 9 Surfaces and Effects

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
Light/sand pouring out of hands

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
Bouguereau Paintings-Avant le bain [Before the Bath], 1900

to control hair make masses simple soften edges and control highlights
visualsundae • Mark Demsteader | fine art

caustics: field of optics light from refraction from water
highlights arent usually white,but color of souce and local color of the object
Related image

color corona, bright colored light
stepstepby: Turner - delicatuscii

photography clips lights and darks, colors change etc
Image result for photography lights and darks range

Comments

Post a Comment

Popular posts from this blog

Graphic LA - pgs 5-37, 58-82, 92

Image
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)
Read more

Ch 5 Paint and Pigments

Image
ideal pigments are permanent plentiful and nonpoisonous color index names are made to avoid confusion in branding P(pigment) (letter for hue) ultramarine= PB 29 light means leaning towards color (cad yellow light, leans toward yellow) deep means leaning towards red 'hue' means a combination of pigments to replace costly historical pigments binder holds the pigment together gum arabic or linseed oil pigments have hue value and chroma transparency drying time and compatibility w/ other pigments tinting strength is how well it holds chroma when white is added mass tone is the color of pigment when spread thickly over a surface lightfastness resistance to fading of color when in light       colorant molecules break down in the presence of light dyes are not lightfast yellows magentas and violets tend to not be as lightfast tone support with warm colors to help improve your paintings really greate for skies and foliage, warm peaks through and adds an aesthetic quali
Read more

Ch 3 Light and Form

Image
  Many different subtleties of shadow shapes, it’ll save time when you paint if you group light and shadow mainly then add a few more groups  Texture in shadow is not the same as in light, much more visible in darker half tone (of light side)  In over cast light upward planes are lighter but there is no shadow side  Separate light and shadow despite the objects color  Cast shadows in sunny days tend to be blue because they are facing the sky unless another source is more dominant  To create drama light the top half of vertical forms and leave the rest in shadow Occlusion shadows are those created by the form itself ie fold in clothing  Portraits are often created with 3/4 lighting, low enough to illuminate both eyes Called broad lighting  Main light is key light Lighting on the foreshortened side makes faces appear thinner  Rembrandt lighting creates triangle of light on cheek bone  If you want to emphasize local color or pattern use fr
Read more