The Peer Project Vol. 2See Vol. 1 here: http://www.conceptart.org/forums/showthread.php?t=53517
It is of course still open to participation, however my time is going to be spent here so I will be unable to comment on your results.
Do note however that for the most part "the answers" have already been given, you may just have to dig them up
In coming here I hope you have come to learn, to discuss and to teach; or at the very least one of the above. A lesson learned in Vol. 1 of the Peer Project is that if I want this project to live I unfortunately will be unable to detach myself as ringleader for this project, alas I'm fine with that. It is my sincerest hope that others will also contribute to the thread and I whole-heartily encourage you all to do so - more on that later.
The Mission Statement:
I'm nothing special, just a normal guy on this forum same as you and everyone else - I may know a thing or two you don't, but I assure you - there are many things you know that I don't as well. This is in fact, an essential part of this threads concept - we will share our own knowledge and what we are unsure of our collective thoughts will decipher. So to restate, I may be the ringleader however I am no teacher and am not qualified to be so - all participants including myself are in fact the teachers and the students.
- - - - - -
It would be great if some of you professionals and instructors could drop in from time to time to help us out!
I would like to thank briggsy@ashtons for all his kindness and hard work in the Peer Project Vol. 1 and would love to see him in here as well.
- - - - - -
Here are the keystones I would like to see for the project -
1. Exercises: The backbone of the project. This is what I will focus most on. These will, for the time being be fairly foundational and basic. A solid foundation is extremely important in my opinion. The focus on these is to open participants eyes and to get them thinking, the focus is not on perfection. In other words, you will learn to learn for yourself I hope. These will again, be fairly basic to keep the amount of time needed to participate at a minimum. I of course welcome anyone to contribute anything to this keystone. Also, any suggestions are welcome as well - if you have something you think would be good for this let me know, or if something is bothering you I'll see what I can do as well.
2. Demonstrations: Well, come on - we all know what demonstrations are. I see this as something others would be more inclined to contribute as it's a bit less work than the exercises. For this keystone as well I see suggestions and requests as a large part.
3. Questions and Theory: Have a question? Something bothering you? Ask away! I would prefer to keep this more open and less about individual critiques and etc - there is plenty of other spots for that. I would like to see this as a large part of the thread as well. I will create a post near the beginning of this thread to host links to all the questions so they don't get lost.
- - - - - -
I will post the exercise and an example of the "finished" product I envisioned. The "finished" product will be in link format only - I do NOT want people to look at this until they have done the exercise. I believe it is vital that you think through this for yourselves, more vital in fact than the actual exercise. If you are completely lost please ask questions - if you can't help it use the example as a guide, do not copy it try only to understand the reasons behind it. You are not here to show off or produce art, you are here to learn and to study. Those of you who feel embarrassed to post their results and lurk beneath the shadows shall feel divine wrath! How are you to learn if you don't try?
1: Exercise Guidelines
a. The exercise will be set up with a goal in mind, sometimes specific, sometimes fairly loose. Focus on the concept, not on the final product.
b. As you do the project I want everyone to keep notes of their thoughts and reasoning. Why did you do what you did, that sort of thing. If for whatever reason you can't keep notes I still want you to think explicitly about what you are doing and write something down afterwards. In your notes and thoughts I want to take the key ideas and post them here. With this insight into your thought process we all can both learn and teach each other much more effectively.
c. Spend as much or as little time as you need to understand the concept. This is only a race against yourself.
d. All exercises are of course optional, feel free to pick and choose if there are activities you would rather do or rather not do. I will however note in the exercise if they are somewhat concurrent or if I believe it would be best to do a previous exercise before hand.
e. People who are too embarrassed to post their results will be shot on sight, you're here to learn not to show off.
I strongly recommend you read the discussions and analyses within others posts that will occur between these pages and exercises. In the past volume I saw and personally repeated the same advice over and over.
This being said, sometimes advice or critiques will be given that may be incorrect, or misconceptions; I most likely am not innocent of this either. If you spot mistakes be sure and correct them! Don't confuse these with opinions however, which are never wrong only different.
Exercise One: Simplified Construction of a Sphere
Exercise Two: Tone with Color
Exercise Three: Light and Color
Exercise Four: Light and Color Part B!
Exercise Five: Light and Color Part C!
Project One (Beta): Simple Shape Rendering, emphasis on different materials!
Exercise Six: Color Recognition: Part A: Hue!
Exercise Six: Color Recognition: Part B: "Brightness"!
- - - - - -
The Tutorials, Demonstrations and Explanations:
Demo by Prometheus|ANJ: Lighting different materials, Clay Plastic and Chrome + Insight into thoughts and Painting Process.
Demo by ChrisMayernik: Efficent Tool Selection in PS, general process tips, shadows and aerial perspective.
Demo by Cup of Joe: Method for Determining Cast Shadows.
Demo by Romance: Using Lighting to Efficently Describe Surface Texture.
Demo by Yoitisi: Proper Sphere Shadow Construction.
Demo by dischord: Method for Determining Specular Position
- - - - - -
Question One: From EtaCarinae: Specific Questions on Edges, refering to Elwells Edges Tutorial
Question Two: From Duq: Questions on Reflected Light Value and Precise Specular Position
- - - - - -
The Valuable Link Archive:
Please feel free to suggest any contributions!
Dr. David Briggs: Further Reading
Fantastic collection of knowledge, go here and learn.
Prometheus|ANJ's excellent "Art Tutorial" (This is awesome!)
More than you ever wanted to know about light (Amazing)
briggsy@ashtons on proper sphere construction: (Woo!)
Edges Primer by Elwell (You will read this or die!)
Detailed Lighting Tutorial (You will read this or die!)
http://www.itchy-animation.co.uk/ (Click Tutorials>Light)
- - - - - -
Basics and Definitions:
Hopefully these will keep us on the same page and better help us to understand each other. A standardization system and a lexicon if you will. Please correct me when I am wrong and I welcome suggestions!
Light for Artists, In my limited understanding:
Picture for a moment if you will the most blue light that you can imagine. What is theoretically happening with this light is that the only the hue of blue is present in the lightsource. Sunlight, theoretically is pure white light, meaning it contains all hues at their maximum saturations. Now it is important to consider that absolutely everything you can see is quite technically a lightsource - if it wasn't you couldn't see it. More on that in a minute...
So, from light from a lightsource to an object - when light hits an object, to keep it simple at the moment, the object either absorbs or reflects the light it receives. What we actually see, i.e. a yellow banana, is the reflected light - all other colors are absorbed. This light in turn can be considered a lightsource, though nowhere near as powerful as the the original direct lightsource and of course in the case of the banana the light has taken on new properties such as a dominant yellow hue.
This should serve only as a very basic and flawed primer - more on this another day, or perhaps today if you yourself feel so inclined. I suggest starting at the first two links provided above from howstuffworks.com and Prometheus|ANJ. I'm still trying to pin it all down in fact.
We all know it when we see it of course but here is a wordy definition from Princeton's WordNet: a visual attribute of things that results from the light they emit or transmit or reflect. You can get crazy scientific on your own time, but in art terms I think it is proper to consider color as consisting of Hue, Tone and saturation.
A measure of the amount of light (brightness, with it's extreme at white) or the lack of light (darkness, with the extreme being black). I think it is perhaps proper to think, more light = more tone, less light = less tone. There are of course complications, but I think it still remains basically true. I believe tone is the most important factor in the readability not only in form but in an image as a whole. Tone is very important and should never be neglected.
From Left to Right, White to Black in 10% increments.
Not to be confused with: Brightness, Value and Luminosity. These as I've come to find out all mean different things entirely, and it really does get confusing at times. In fact, you will probably often find me using value sometimes to describe tone It's the term I was taught with haha!
Again from WordNet: The quality of a color as determined by its dominant wavelength. Again, get crazy scientific on your own time - I do recommend doing so. Check out the link to howstuffworks.com on light in the Links Archive. With any level of saturation will come hue, and at any value level with the exceptions of white and black hue will exist. Hue can often be a bit hard to discern at lower saturations and lower values, for example - ever seen a dark yellow? A good way to discern hue that I recently learned is a bit of a deduction game. You will of course have a decent idea of what hue any given color is - from here I think it is helpful to ask yourself is it more of this hue, is it perhaps an orange with a tendency towards red, or perhaps yellow? If yes, chances are you have a yellow-orange or red-orange to some degree, if you are positive in saying no - then you have orange. Seems simple but it was a neat revelation to me at the time
From Left to Right: Yellow, Orange, Red, Red-Magenta, Magenta, Violet, Blue, Blue-Cyan, Cyan, Green-Cyan, Green, Yellow-Green and finally white. The white symbolizes that in light these will combine to make white, that and I wanted it proportional . This selection may seem a bit odd to most of you familiar with traditional color wheels, here I have based my choices on the primaries of Red, Green and Blue - Secondaries of Cyan, Magenta and Yellow and Tertiaries as the remainders. I believe this is the most correct representation of light, but again - I'm still working on pinning this all down. I think it is also important to note that violet could perhaps be more properly named as blue-magenta, but what's in a name really?
A measure of how pure a hue is. If a hue is mixed with any other hue it will loose saturation. There are exceptions but only if you are mixing say a low saturation color with a high saturation color - but you will still loose the saturation in your original color. If you say your object is at the absolute maximum saturation possible you are in effect saying that the object is reflecting only one hue and absorbing all others.
Not to be confused with: Intensity and Chroma. I suppose we'll go into these terms later.
Top Bar: From left to right, 100% value 100% saturation Yellow to 100% value 0% saturation Yellow in 10% increments. It is important to note that with 0% saturation it is a misnomer to actually call it yellow, it is in fact no longer color - simply value, white to be exact.
Middle Bar: From left to right, 60% value 100% saturation Yellow to 60% value 0% saturation Yellow in 10% increments. Again, with no saturation it is actually no longer color only value, we can not properly call this yellow.
Bottom Bar: From left to right, 100% value 100% saturation Yellow to 0% value 0% Yellow in 10% increments. Again, it is no longer color once we have removed saturation, in this case it has become pure black.
The color we percieve an object to truly be, usually this is under bright sunlight without any interference or the effects of shadow and reflections. I.e. An orange orange, yellow banana, white eggs (I must be hungry...) It is important to note that this perception can cause trouble in many instances, can you picture say, an egg under a bright red light? Do you picture it as white, or do you picture it as red?
- - - - - -
Using Color with our Digital Medium:
Do note how confusing it is to have to use Tone, Brightness and Value ... but don't let it it bother you haha!
Adobe Photoshop's Color Picker:
A: The Selection Window - From here you can visually choose the color you want. Top to bottom of the entire square is a scale of brightness, top is white being 100% and bottom is black being 60%. Left to right is a scale of saturation for the entire square, left being 0% saturation and right being 100% saturation.
B: Note the radial dial is selected in this box under H, for hue. This controls object D, the slider. If I knew practical uses for the other radial dials I would go into them at this time.
C: The Hue (H), Saturation (S) and Brightness (B) input boxes. Note that brightness is a not exactly a synonym for tone. The Hue box is measured in degrees, as if on a wheel - D, the slider bar is perhaps more accurate as a band or wheel. In this case both 0 degrees and 360 degrees are Red, add 30 degrees incrementally to recreate the hue bar post in the above section. Again, concerning the other input boxes - I have yet to determine a practical use for these for painting.
D: The slider, currently depicting a full hue range with each hue at 100% brightness and 100% saturation.
Corel Painter's Color Wheel:
A: The Selection Window - From here you can visually choose the color you want. Top left corner represents white, 100% brightness 0% saturation. Bottom left corner represents black, 0% value 0% saturation. The right corner represents a pure hue - 50% value 100% saturation (In Photoshop this is 100% value 100% saturation, I think - perhaps this makes more sense but is much harder to calculate).
B: The Circle shape surrounding A is in fact a color wheel. In Painter this is how you select your hue.
C: Inside the box are H (Hue) S (Saturation) and V (Value) scale measurements. When I used painter I never really bothered to look at any of these, relying only on visually picking the colors I needed. So, as such in never using them - I have yet to wrap my head around hue being a percentage haha. Saturation makes sense of course, but value is complicated by the triangular geometry, and as we all know artists generally hate math
D: Same story here, I never used these - you can switch this between HSV (Hue, Saturation and Value) and RGB (Red and Green and Blue). Don't feel bad if you don't understand why RGB would be of any use, it's a long story. hehehe!