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vacantlyvest:

there you go, anon.  

two of these were unrefed, the rest i got refs from here

The Relative Color and the Absolute Color

colours-theory:

Since the colors are never what they look like, It’s useful to understand the color in two ways : the RELATIVE color and the ABSOLUTE color.

The Relative color is the color as it is seen, according to the perception of the eye and the translation from the brain to the mind.
The Absolute color is the color as it is, in reality.

This is part of the colors relationship, and the contrast of the colors.

To be able to get the right relative color (meaning without any false notes), it’s crucial to know what its absolute color really is.
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For example, the absolute color of grey is very often the relative complementary color of its surrounding color.
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Depending of the kind of picture and depending of your color’s intentions (that is off special effect or narrative effect),
using an absolute complementary (that is, for the previous e.g, a true blue) in direct contact to its surrounding colors may easily create
a so much strong contrast that the mind will perceive it as a false note, then causing a global unbalance on all other colors in the image.

E.g, here is the page 05 from “Detectives” vol.02 (Hanna/Sure/Lou, ©Delcourt editions)
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The “grey” panels 05 and 09 have a cold vibration, almost blue, because they are in a direct relationship within a yellow hot tan.
This two panels, in minority, are also secondary in the narration of the page.


Using a true absolute blue would reverse this narrative order because the color contrast would became so much strong that they would became the primary focal point of the page.
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Let us look a little closer at the 3rd strip.
The mind read the left panel as cold, in a subtle blue. The shirts are read as white, and the bottles of champagne as greenish…
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…but by isolating the absolute colors, in comparison with a Titanium white, none of this previously mentioned relatives colors exist in this picture.
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…And if they were, the balance of the colors would be broken, and the falses notes would be made.
Notice how the eye now read differently the picture, it can’t stop looking at those white shirts and then those bottles.
It almost forget to look at the balloons and the characters. ( i’ll talk about the narration through the contrast of colors later, in another post)
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It is the same for the values.
A relative value defines itself compared with its surrounding values.
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Let’s look back at our 3rd strip.
Watch the contrast between the shirts, and the light jacket in the front, how they seem to be so much lighter in comparison with the other clothes.
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When in reality, if we compare them to each other, the difference became a lot more subtle than it seemed to be.
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This is a side effect of the relative color.
The mind analyzes et translates a color based on its database stocked in its memory, trying to identify the color in the most simple and efficient way possible.
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The shirt itself is light indeed, and white. But it’s simply its “name”. Its “classification”, its “identity” (see the flat step of my quick step by step).
What we’ll ask in a store.

In reality, this shirt is not white, and not much lighter than the light face of the grey jacket or the blue shirt.
But for our mind, white means light. Lighter than everything.
However, a white shirt in shadow is often darker than a back shirt in the light, whatever the mind is saying.

So, compare, isolate, compare, isolate, compare, always.


You can change your “mind database” with some practice.
By using a paper sheet with holes to isolate outside colors. ( grey paper is best)
Or by opening some pictures in a software and use the color-picker to learn what is going on with the color relationship.
Testing yourself to find out the absolute color of your surrounding whenever you can.

Then, colorisation will become much easier, and like a musician able to reproduce a song he heard a the first try,
you’ll develop the Golden eye.

The process of a limited edition indiana jones and the crystal skull poster, by mark raats. please check out his site for more information, more artwork, and more tutorials! Here’s the link to this specific tutorial; i’ll be quoting a little bit of the information here but it is really worth it to go and read the whole thing.

1.

"I prefer to work on MDF board because, not only is it a firm base, but I really like its inherent color – especially when varnished. Using a piece roughly 34 x 25 inches in size I transferred the layout to the board using traditional pencil. The next step was to lay down a wash of general color that would assist me in determining the deeper tones and the underpainted variations.

I chose to use a very limited pallet of colors for this piece (see the list at the foot of this tutorial) and I use Acrylic’s by choice.”

2.

"I dislike a ‘clean’ surface to paint on and in an attempt to drop in a little texture, I liberally splashed the surface of the entire board with drops of watered down paint. NB. I tend to do this only AFTER I have laid out the underpaint because if you do it earlier it’s almost impossible to see the pencil line work through the spots."

3.

"I continued to lay down the paint in progressively thicker layers and I also started to work colored pencil lines into the painting - to enhance some areas of color and to define edges of some shapes. I use a combination of Prisma Color, Faber Castell and Derwent pencils for this."

5 & 6

The finished painting was finally varnished and scanned and Photoshop was used to clean up the edges and to lay in the Logo and text.

malinfalch:

the process of my elf piece

text-mode:

See how EtheralHalo draws ASCII live, in the Japanese Shift-JIS standard.

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conceptcookie:

CoCo Livestream - Back To Basics - 8.27.2014
Livestream today at 2PM CST(-5GMT) on value shading the latest exercise on basic shapes HERE

tmirai:

fuckingmonsters:

figuring out complicated designs in perspective doesnt have to make you mad so here is good tips to keep in mind. can be used for all kinds of things

Bloody brilliant. Thank you!

pixelatedcrown:

Since I’ve started posting low poly models I’ve been asked a lot about how I make them. Hopefully this video will clear things up! The first half has me explaining techniques and the second is a 2000x speed recording of me making a more complex model (real time: 5 hours)

Things almost every author needs to research

clevergirlhelps:

the-right-writing:

  • How bodies decompose
  • Wilderness survival skills
  • Mob mentality
  • Other cultures
  • What it takes for a human to die in a given situation
  • Common tropes in your genre
  • Average weather for your setting

yoooo

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geibu:

wacom bamboo pen giveaway.

So tomorrow i’m purchasing a new tablet and won’t need my current one any more, so i’ll be giving it away.

It’s not brand new, I’ve used it but it works perfectly fine, so it’s suitable for giving away- especially cause I know a few people who can’t afford one.

  • Rules:
  • don’t have to be following me but it’d be nice!!
  • reblogs only, like as reference.
  • For an extra entry you can tell me why you want to win it or submit a cute fact/joke but that’s not mandatory. 

I’ll add in some cute sketches and drawings for the winner.

I’ll choose the winner when this recieves enough notes, probably next month some time.

If you have any questions, feel free to ask.

i’m not entering this but i’m rebloggin for my followers

(Source: alojs)