11-08-2012, 05:07 AM
Shyam - bloody awesome start! Thanks for the process vids - super helpful, nice to see this before I start.
so below is the list I made for myself - elaborated a little (Shyam let me know if anything in here is off/misunderstood):
With painting studies - keep these in mind while working!
1. Edges
-hard edge vs. soft edge vs. lost edge ... THINK ABOUT IT!
-make sure to include soft edges around outline of various body parts (head, arms, legs) when they are silhouetted against the background. Hard edges makes these look unreal and pop unnaturally
-light wraps around the 3D form, and doesn't just drop off the face of an edge. As such, soft edges should represent this wrap around, with darker colours/tones when light is indirect, or with brighter colours/tones when light is more direct. With rim lights the colour should match the colour of the light (more often than not) and otherwise the edge colour should interact appropriately with the material it is next to (as with slightly saturated colours next to skin tones)
2. Values
-be careful with value ranges on elements like eyes/eye lashes/eye brows & lips/nose - when the value contrast is too high, or doesn't transition with a softer edge, these elements seem to pop or separate from the image - again creating an unnatural feel to the overall image.
-value ranges don't often span across allot of contrast (from very dark to very light) Identify the appropriate areas for using very dark or very light. Often based on light (type & angle) and edges that come together or overlap - corner of mouth or crook of elbow for example
-when working in colour - be sure to check values regularly - easy way is to have a black layer set to saturation above all layers, can easily turn this on and off to check
3. Light, Colour & Surfaces
-skin tone varies in colour, but certain colours can be used with certain areas. Nose/nostrils, lip corners and eyelids/creases all will have more apparent blood flow, and with light/subsurface scattering will show warm saturated colours - like reds, oranges and pinks. This also can hold true for fingers, ears, and in general areas that show more blood flow (as with cheeks with some people)
-areas with wear will often be darker, as with elbows and knees
-when ever light creates shadows in areas that have more subsurface scattering, make use of actual colours versus dark tones that play within black and brown
-white is rarely ever white, and should be reserved for extreme highlights or certain materials. More often than not the highlight takes on the local colour (as with the whites of the eyes) or the colour of the light (specially with rim lighting)
-remember that the most saturated area in lighting takes place around the terminator
4. Augmented Reality
-be careful of grey tones within skin colours. As a general rule always augment the colour or saturation to mimic the "feeling" of warmth and life depicted by the subject
-add/augment things like colours in shadows, more saturation in colours or some light highlights to describe form more to re-create the feeling of the subject, and to help bring depth/3dimension to the piece
.... so here's the pic I chose, and the quick line sketch - now to a full day moving this forward! ... update - rough line sketch completed!
so below is the list I made for myself - elaborated a little (Shyam let me know if anything in here is off/misunderstood):
With painting studies - keep these in mind while working!
1. Edges
-hard edge vs. soft edge vs. lost edge ... THINK ABOUT IT!
-make sure to include soft edges around outline of various body parts (head, arms, legs) when they are silhouetted against the background. Hard edges makes these look unreal and pop unnaturally
-light wraps around the 3D form, and doesn't just drop off the face of an edge. As such, soft edges should represent this wrap around, with darker colours/tones when light is indirect, or with brighter colours/tones when light is more direct. With rim lights the colour should match the colour of the light (more often than not) and otherwise the edge colour should interact appropriately with the material it is next to (as with slightly saturated colours next to skin tones)
2. Values
-be careful with value ranges on elements like eyes/eye lashes/eye brows & lips/nose - when the value contrast is too high, or doesn't transition with a softer edge, these elements seem to pop or separate from the image - again creating an unnatural feel to the overall image.
-value ranges don't often span across allot of contrast (from very dark to very light) Identify the appropriate areas for using very dark or very light. Often based on light (type & angle) and edges that come together or overlap - corner of mouth or crook of elbow for example
-when working in colour - be sure to check values regularly - easy way is to have a black layer set to saturation above all layers, can easily turn this on and off to check
3. Light, Colour & Surfaces
-skin tone varies in colour, but certain colours can be used with certain areas. Nose/nostrils, lip corners and eyelids/creases all will have more apparent blood flow, and with light/subsurface scattering will show warm saturated colours - like reds, oranges and pinks. This also can hold true for fingers, ears, and in general areas that show more blood flow (as with cheeks with some people)
-areas with wear will often be darker, as with elbows and knees
-when ever light creates shadows in areas that have more subsurface scattering, make use of actual colours versus dark tones that play within black and brown
-white is rarely ever white, and should be reserved for extreme highlights or certain materials. More often than not the highlight takes on the local colour (as with the whites of the eyes) or the colour of the light (specially with rim lighting)
-remember that the most saturated area in lighting takes place around the terminator
4. Augmented Reality
-be careful of grey tones within skin colours. As a general rule always augment the colour or saturation to mimic the "feeling" of warmth and life depicted by the subject
-add/augment things like colours in shadows, more saturation in colours or some light highlights to describe form more to re-create the feeling of the subject, and to help bring depth/3dimension to the piece
.... so here's the pic I chose, and the quick line sketch - now to a full day moving this forward! ... update - rough line sketch completed!