Tuesday, April 19th, 2022
Color: Part 2
Using all the skills learnt so far:
- deconstruction – finding shapes and angles to plan your image
- value blocking – fill in those shapes with clear light to dark differences in greyscale
- edge planning – control what specific part of your image is in focus, soften the rest
- light and shadow control – environmental control, i.e.: what time of day is it?
Complete the following 2 exercises.
The previous value-blocking (greyscale pre-planning) tells you exactly where, up or down/light to dark, your color will be in the color picker. Your value blocking work will now be your shadow layer(s), using the ‘multiply’ layer setting.
The new challenge, in using what we’ve learnt about color, is to decide how saturated that color will be. How saturated you go will depend on where you want the viewer’s eye to go, what you want to stand out.
Save the complimentary color palette and controlled gamut color palette images, along with the reference photos, and use the color picker to stay within your chosen palette.
Tip to remember: elements in the distance will have natural lighter value and lower saturation because of environmental factors.
Again, remember that when creating a limited-color palette painting, do not touch the the full spectrum color selector. For your ‘base’ color layer(s), stay within your chosen color(s), and only focus on the level of saturation you are using (from grey to full saturation) within that specific color. On another new empty layer, set to ‘multiply’, then go in to add your shadows and darker areas (using your monochrome/greyscale planned-out thumbnail) and a brightening (set to ‘overlay’, and another set to ‘screen’) to add the light.
Using only a complimentary color palette (opposite colors), and starting with low saturation, digitally paint the attached reference photo, for your imaginary client. 😉 You are free to choose any complimentary color combination, but make sure you only pick one color as your ‘favorite’ to use for the higher saturation. Do not use both colors at full blast saturation – only pick one to stand out.
Using only a controlled gamut color palette, digitally paint the attached reference photo, for your imaginary client. You are free to choose any of the below palettes, but use the color eyedropper selector tool to ensure you stay within that color palette range. In this situation, you cannot change the saturation beyond what is in the below gradient color palette, and you still need to decide which side of the spectrum you will stay on – you have to decide which complimentary color (ie. orange or blue) will be the feature color.