Color Theory and The Human Figure - NUDITY

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  01 January 2006
Talking

Mr. Mu,

Nice!!! A big kudos to you for not using the shortcut controls for brightness/contrast, and for really trying to grasp these concepts independently...well~done!

The flower is now quite distinct from the background, due to the hue and saturation differences from the background, as well as due to it's relative sharpness as compared to the blurred quality of the background. This has come a long way from your initial piece ~ keep at this, I think you are quickly getting the hang of things!

Cheers,

~Rebeccak
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  01 January 2006
Here's another color study of this image http://www.tropicalisland.de/DPS%20...0flower%20b.jpg. It's a great picture, but for a painting, the composition needed work. Consequently, I rearranged some things.

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Last edited by danielh68 : 01 January 2006 at 02:34 AM.
 
  01 January 2006
Talking

Ooh, really nice piece! Your work reminds me a bit of that of Audrey Flack in terms of the brightness of the colors:


http://209.59.165.223/read/data/upimages/AudreyFlackCMYK.jpg

I like the compositional rearrangement as well ~ I think that it did need it for a painting, you're totally right! Well, I hate to say, but I think this is going to be a really pretty thread...

Great to see your contribution here!

Cheers,

~Rebeccak
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  01 January 2006
Thanks, Rebeccak.

I usually flatten my work as I progress through a painting. However, this time, I saved many stages. So, if someone is interested in a tutorial let me know.

I never heard of Audrey Flack, but he (she?) looks very interesting.

---------------

Mr. Mu, thanks a bunch I'm glad you like the thread...it encourages me to post more!
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Last edited by danielh68 : 01 January 2006 at 02:55 AM.
 
  01 January 2006
Worked a little bit more on this one...

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  01 January 2006
Talking

danielh68,

Nice work! I like the progress on that front iceberg...really enjoying seeing your work...speaking of 'bergs...

this is a really poor reproduction of one of my favorite paintings, which I was fortunate enough to see years ago when it was displayed at the National Gallery of Art in Washington:


http://www.thenewgnosis.org/images/Wreck%20of%20Hope%20-%20Sea%20of%20Ice.jpg

'Wreck of Hope', by Caspar David Friedrich ~ 1774-1840

The colors are soooo much more vivid and blue in the original piece...if anyone can find a better reproduction, I would encourage them to post it here.

I for one would definitely like to see those tuts, and I think others would agree.

Cheers,

~Rebeccak
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Last edited by Rebeccak : 01 January 2006 at 03:20 AM.
 
  01 January 2006
Talking

Well, not great, but I figure I need the practice.

From this Reference image:



Cheers,

~Rebeccak
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Last edited by Rebeccak : 01 January 2006 at 04:13 AM.
 
  01 January 2006
Slight update...








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Last edited by Rebeccak : 01 January 2006 at 06:36 AM.
 
  01 January 2006
Originally Posted by Daniel Helzer: So, if someone is interested in a tutorial let me know.


aha ha hahaHa... of course, man!

Rebecca - wonderful approach, looking forward to your next steps!
 
  01 January 2006
Rebeccak -- "Wreck of Hope" is a great painting. I also like how your landscape is progressing...I'm curious to send the next update

Mr. Mu -- I will try and put something together sometime today.
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  01 January 2006
For anybody who's interested, here's a tutorial on my tropical flower.

First, I fill the white canvass with a gradated background of two slightly varying warm pure hue greens. Some may say, "green is cool, isn't it?" Well, it's sort of relative. For instance, all greens are cooler than orange; yet, within the context of just "greens" there are varying degrees of warmness and coolness. Lets look at the Photoshop color window below.



In a big-picture sense, I've indicated where the warm and cool colors reside along the spectrum. However, lets say a cool red is needed for the shadow side of a red cube, I would then pick from the cooler assortments of reds from the top of the spectrum. If I wish to be really colorful, I may even dip into the lavenders and blues. Hopefully, this makes sense.

Next I sketch in the flower loosely and rearrange the composition a bit from the established photograph. I omit the vine since it was a distraction and add another bulbous plant to the comp. I chose three bulbous plants because I like odd numbers and they work well for creating interesting asymmetrical yet balanced paintings. There's two smaller ones on the left and a big heavy one on the right; as result, there's some harmony and balance established. I also cropped the edge of the big plant, thus making it an odd number -- only one cropped plant in the composition. Just remember, asymmetry and odd numbers = beauty.





During the second stage, I apply warm pure hue colors over my sketch except for the cool magenta on the petals. For the "Colorist School of Thought", try to establish form with more reliance on temperature instead of darker values. The image below, although rough, succeeds in portraying form merely by the different applications of temperature. If you were to apply hue/saturation and desaturate it completely, you would discover that there's not an extreme range of values that make-up the composition. In essence, it's all accomplished through various temperature selections.




At this stage, I blend the solids a tad with a pressure sensitive brush. Any brush will work, it's good to experiment with a variety of them.




Next, I tighten-up the flower and add some texture to various petals. Sometimes I create my own textured brush, often though, I just grab something from Adobe's pre-existing library. As I continue, I add some pure cool blues with the cool magenta areas of the flower. These two colors are then carried into the shadows of the bulbous plants. I add some different blues for variation.




I also sample one of the blues and paint in some abstract forms into the background. Once the colors are established, I repeat a lot of them to maintain continuity and harmony in the piece.




At this phase, I wanted more pop from the flower so I played with Levels just a bit. This didn't correct everything, so I used a big brush (set to Overlay) and applied a dark rich green to the background.




From here, the overall painting is fairly established. This is the fun part because I get to tinker and experiment. I further refine the piece using a multitude of different brushes, both textured and soft. Sometimes it's good to use an airbrush or a textured brush set at very low opacity and, choosing an object color or background color, gently tap around selective edges of the forms letting them dissolve in the atmosphere.




After much tinkering, I create a separate layer set to Vivid Light, sample the brightest yellow from the flower, and dab one big fuzzy airbrush stroke over it. I'm happy with the luminous atmospheric glow it exudes and decide to end things from there.




Note: As I work, I constantly flatten my work then create a backup layer. I believe one can accomplish a more painterly feel to their work by working only on one layer as opposed to many.
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Last edited by danielh68 : 01 January 2006 at 01:53 AM.
 
  01 January 2006
Talking

danielh68,

Great tut! It's fantastic to see this, thank you!

Looking forward to any and all further tutorials you might wish to provide!

Cheers,

~Rebeccak
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  01 January 2006
Daniel - thanks a lot for this tutorial. I just read through all of it and can say that this is one of those pieces of information you come repeatedly back to and always learn from it.

Thanks!
 
  01 January 2006
Thanks everyone, much appreciated

By the way, I downloaded ArtRage 2 today and, I must say, it's a sweet little app. The oil paints have a very viscous feel to them. The really cool thing, though, is they get dirty just like traditional paints. This can be both a blessing and a curse, I suppose. The blessing is the user can actually mix compliments and achieve a nice range of greys. The curse is potential mud

Anyhow, here's a doodle I did. It has a lot of color, so I figure this thread is appropriate.

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  01 January 2006
Talking

danielh68,

I've tried ArtRage once or twice, and it does have a nice feel to it. Seems even people with more advanced programs are a fan of the free / nearly free app.

Maybe I should try it...

Cheers,

~Rebeccak
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