{"id":88,"date":"2018-11-09T22:35:00","date_gmt":"2018-11-10T05:35:00","guid":{"rendered":"http:\/\/jesbear.com\/?p=88"},"modified":"2018-12-19T12:25:11","modified_gmt":"2018-12-19T19:25:11","slug":"color-and-light-chapter-9-surfaces-and-effects","status":"publish","type":"post","link":"http:\/\/jesbear.com\/?p=88","title":{"rendered":"Color and Light Chapter 9–Surfaces and Effects"},"content":{"rendered":"

Transmitted Light:<\/strong><\/p>\n

When sunlight travels through sin, semitransparent material, the light becomes colored.<\/p>\n

4 distinct foliage colors: transmitted light, downfacing shadow, upfacing shadow, and toplit with sun.<\/p>\n

Subsurface Scattering:<\/strong><\/p>\n

Lit enters translucent materials (like skin) and spreads out, creating a glow. It affects forms with depth and volume.<\/p>\n

Most dramatic when you’ve got translucent flesh, small forms, and backlighting.<\/p>\n

It makes people’s ears look red when backlit and makes the edges of fingers red when held against the sun.<\/p>\n

\"Image<\/p>\n

Color Zones of the Face<\/strong><\/p>\n

\"Image<\/p>\n

The differences between the zones of the face are very subtle. More pronounced in men than in women.<\/p>\n

More capillaries in the middle region, hence the reddish hue. Fewer veins in the forehead. Stubble and blue-toned veins in the bottom third.<\/p>\n

The Hair Secret<\/strong><\/p>\n

To make hair look pretty, don’t draw each individual strand–use big brushes, keep masses simple, soften edges, and control highlights.<\/p>\n

Where the hair meets the forehead, look for variations and don’t allow the edges to be too hard.<\/p>\n

Visualize masses of hair as ribbons–the highlight goes across (NOT ALONG) the curving shapes.<\/p>\n

Short or pulled-back hair creates a highlight that extends across the entire head.<\/p>\n

Key light and an edge light can make hair interesting. No set formula for hair because it can be so different for different people.<\/p>\n

Caustics<\/strong><\/p>\n

\"Image<\/p>\n

Water in a glass or light going through waves creates a lens which focuses light into spots or lines of light.<\/p>\n

From transparent objects, the light bunches up and forms lines of concentration along the boundary of geometric shapes.<\/p>\n

Underwater caustics create shapes on the backs of fish or on the sea floor, but they don’t occur much deeper than 20-30 feet. They only happen on sunny days as well.<\/p>\n

Caustic reflections can be cast upward from wavelets–you could see them on the underside of a bridge, for example. They can also appear inside concave shiny objects, like cubs or bowls.<\/p>\n

Specular Reflections<\/strong><\/p>\n

Shiny objects act like mirrors, reflecting whatever’s around.<\/p>\n

specular reflection:<\/em> light rays bounce off the surface at the same relative angle that they approached it<\/p>\n

diffuse reflection:\u00a0<\/em> light rays bounce in all direction–typical of a matte surface.<\/p>\n

Many objects are a mix of the two…<\/p>\n

3 Rules of Specularity:<\/p>\n

–The more reflective the surface, the broader the range of values you need to paint it.<\/p>\n

–Convex reflective surfaces, such as chrome, reflect a mini view of the scene around the object, often including elements beyond the limits of your composition.<\/p>\n

–Specular pattern is a separate layer added on top of the usual modeling factors you use to render the object. (Consider normal modeling factors PLUS specular efffects.)<\/p>\n

Highlights<\/strong><\/p>\n

Specular reflections of the light source on wet or shiny surfaces.<\/p>\n

Highlights are a combination of the color of the source and the local color of the object.<\/p>\n

Annular highlights–like scratches in a metal surface, cobwebs, tree branches catching sunlight.<\/p>\n

Color Corona<\/strong><\/p>\n

Surrounds a very bright source, like a setting sun or streetlight. (Called a lens flare in photography.) It’s a region of colorful light, like a halo. Glow takes on the native color of the source. It’s cool because it can make a source seem brighter than the white of the paper, and it can make the viewer squint involuntarily.<\/p>\n

Motion\u00a0<\/strong>Blur<\/strong><\/p>\n

Motion blur–form moves rapidly in front of a stationary observer or camera.<\/p>\n

The faster an object is moving, the more it’s blurred. Blur is greatest in relation to the path of the movement.<\/p>\n

Speed blur–camera tracks along with a fast-moving object.<\/p>\n

Background blurs radially from the vanishing point along the path of movement. Forms closest to the camera blur the most.<\/p>\n

Photos vs Observation<\/strong><\/p>\n

Cameras tend to distort light and color. Here’s how things change:<\/p>\n

    \n
  1. Deep shadows look black and highlights look white.<\/li>\n
  2. Colors shift\/weaken in chroma. Subtle variations between adjacent warm and cool colors are often lost.<\/li>\n
  3. Weak sources, like reflected colors from nearby objects, are lost.<\/li>\n<\/ol>\n

    How to use photos without losing color:<\/p>\n

      \n
    1. Use your chosen medium to make a color note while on site.<\/li>\n
    2. Turn reference photos into black and white images so you won’t be influenced by photographic color.<\/li>\n
    3. Wait for overcast days when lights\/darks aren’t so extreme or use a reflector.<\/li>\n
    4. Take 2 exposures–one for lights and one for darks–and use the two photos for your reference.<\/li>\n<\/ol>\n","protected":false},"excerpt":{"rendered":"

      Transmitted Light: When sunlight travels through sin, semitransparent material, the light becomes colored. 4 distinct foliage colors: transmitted light, downfacing shadow, upfacing shadow, and toplit with sun. Subsurface Scattering: Lit enters translucent materials (like skin) and spreads out, creating a glow. It affects forms with depth and volume. Most dramatic when you’ve got translucent flesh, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[3],"class_list":["post-88","post","type-post","status-publish","format-standard","hentry","category-uncategorized","tag-colorjournal"],"_links":{"self":[{"href":"http:\/\/jesbear.com\/index.php?rest_route=\/wp\/v2\/posts\/88","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/jesbear.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/jesbear.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/jesbear.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/jesbear.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=88"}],"version-history":[{"count":3,"href":"http:\/\/jesbear.com\/index.php?rest_route=\/wp\/v2\/posts\/88\/revisions"}],"predecessor-version":[{"id":98,"href":"http:\/\/jesbear.com\/index.php?rest_route=\/wp\/v2\/posts\/88\/revisions\/98"}],"wp:attachment":[{"href":"http:\/\/jesbear.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=88"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/jesbear.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=88"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/jesbear.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=88"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}