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August 12th, 2011 #1
Coloring grayscale pictures to learn for color and value interact?
Right now I trying to understand how colors and values interact. I reading Color and Light by James Gurney, I read treads and tutorials onlineon the subjects, I watch tutorial on youtube and I practice. Basically, I try to do my homework. Yet I do have a question.
Sometimes when I run into trouble with a picture it helps sorting or out by working just with values in a gray scale . But the trouble occur when I try to color the sketch or picture.
If I try to color it I can't get it to look as good as it would have if I worked with colors all the way through. I try to color it by carefully doing painting a color layer in different hues, using and combining different layer modes and opacity (multiply, color, overlay,,, etc) to bring out the colors and then manually paint over that to get the colors right. It still get that slightly off and metallic look.
Am I better off working with color all the way through, when I want a colored end result? Or is it still a good way to work in gray scale and then try to colorize the painting?
I submit three examples of pictures I been working on to show the problem I'm trying to deal with:
Colored gray scale pictures: http://w176.deviantart.com/art/Charl...nson-212211491
Using color all along (wip): http://www.conceptart.org/forums/att...1&d=1313183064
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August 12th, 2011 #3
Thank you, I think you might be right and will try to experiment to see if that might fix it.
August 13th, 2011 #4
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August 13th, 2011 #5
I would paint in straight color until you're comfortable enough to accomplish the same result in a different way. It's going to be harder to understand color, value and tone if you're also having to deal with blending modes and multiple layers.
Value studies would help you understand how forms appear under different lighting conditions. Tonal studies would help you understand value/hue matching. Of course, color studies are going to help you understand color."Astronomy offers an aesthetic indulgence not duplicated in any other field. This is not an academic or hypothetical attraction and should require no apologies, for the beauty to be found in the skies has been universally appreciated for unrecorded centuries."
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August 13th, 2011 #6
August 13th, 2011 #7
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August 13th, 2011 #8
Thank you all for you advice. I try more real life studies and do value only studies. And keep my practice with color to other pictures. And if I do try to color gray scale pictures i will try to compensate the thing the highlight does.
August 13th, 2011 #9
Actually w176, the best way to go about it is to work in color whilst having a layer of pure black on top of everything. Set the layer to saturation and turn the layer on and off during the creation process to make sure your values are successful as you go along. I owe that tip to the FZD school of design. Works great for me!
August 13th, 2011 #10
That sound like a really smart tip.
August 13th, 2011 #11
I can't say any smart stuff here, I definitely stick to "color all the way"
My grayscale paintings are mere studies - but if I would be good enough, they could be final products.
But many likes to play around colors to create the atmosphere they want, making versions to see what's best, just like when they do their thumbnail sketches. Maybe I will do that when I will be less of a beginner, who knows? (Or when I draw enviros where there's often more freedom in choosing colors)
I think you should experiment a bit and see what suits you. Your choice even may change with time, life is like that.
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August 13th, 2011 #12Registered User
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You also can put an Adjustment Layer on top of everything, make it a Hue/Saturation type, and crank down the saturation, turning it on and off to double check your values.
The "metallic" look comes from not getting enough different colors into your new layers of color painted over your value layer. You've got to paint with a Normal layer mode to do this. Things look metallic because the highlights are white and the colors on the objects are all tints of the main "metal" color. You need to start introducing different colors into your shadows and highlights to overcome this.
August 13th, 2011 #13
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August 13th, 2011 #14
Make sure that you understand the difference between specular and diffuse reflection, and can recognize the two on human skin from life. Your colours seem to go evenly from low chroma darks to higher chroma midtones and then low chroma lights, as if you were just following the old formula of keeping the colours strongest in the middle tones. Instead, you should keep the whitish colours to the places influenced by specular reflection.
A little more variation in local colour of the skin, from low light to fully lit, wouldn't go astray either (edit: as truro suggested):
Last edited by briggsy@ashtons; August 13th, 2011 at 09:56 PM.
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August 13th, 2011 #15
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