Difference between revisions of "Lesson 4"

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The day will begin with a review of the [[Lesson 1#Assignment: Piranesi|Piranesi]] assignment from [[Lesson 3]].
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The day will begin with a review of the [[Lesson 1#Assignment: Procedural|procedural]] assignment from [[Lesson 2]].
  
Talk: color
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===Perspective===
 +
Perspective is one of the means by which a scene may be realised effectively on a flat plane. It is a system which is entirely unnatural and has to be learned. The lecture notes on perspective are [http://opticalenquiry.com/photoshop/documents/perspective_s.pdf here (right click download)].
  
=== Exercise: color===
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====Exercise: perspective====
Your task is to paint or composite a vase of flowers. The aim is to organise the color in your painting in a meaningful manner.  
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[[File:perspective_excersise.jpg|x200px]] 
  
*To review the lightness organisation of your work, simply apply a hue saturation adjustment layer and desaturated.
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Examine the image above. Using it as reference '''quickly''' do the following three exercises as '''line drawings'''.  
  
*To review the saturation organisation of your image use [[Selective Color]].
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# Draw the scene as if you have taken three steps to the left, and also turned slightly so that you are still facing the computer.  
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# Draw the scene as if you are a giant looking down at it (giants eye view).
In both the above cases, ensure that there is good spread (low to high) and good organisation (clear differences between high, middle and low values).  
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# Draw the scene as if you are looking up at it (Child's eye view).
There is no easy way to review the hue of your image except by looking at it. Hue may be understood as being organised according to the following two values:
 
  
*Hue variety...
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===Tone and painting===
  
The amount of perceptually different hue values. Monochrome painting have low hue variety, colourful paintings have high hue variety.  
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See notes on [[Lightness Organisation|lightness organisation]].
  
*Hue antagonism...  
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See notes on [[Painting|painting]].
  
Any hue values on opposite sides of the RYB hue wheel can be said to be in an antagonistic relationship with each other.  
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====Exercise: tone and painting====
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[[File:rembrandt.jpg|x300px]]
  
Some artists to look at: [https://www.google.com.sg/search?q=van+gogh+flowers&es_sm=91&source=lnms&tbm=isch&sa=X&ei=3WLrU8fmBNO68gWsjIL4DQ&sqi=2&ved=0CAYQ_AUoAQ&biw=1393&bih=1083 Van Gogh]  [https://www.google.com.sg/search?q=van+gogh+flowers&es_sm=91&source=lnms&tbm=isch&sa=X&ei=3WLrU8fmBNO68gWsjIL4DQ&sqi=2&ved=0CAYQ_AUoAQ&biw=1393&bih=1083#q=Henri+fantin+de+la+tour+flowers&tbm=isch Henri Fantin de la Tour], [https://www.google.com.sg/search?q=Manet+flowers&es_sm=91&source=lnms&tbm=isch&sa=X&ei=IWPrU6qtNZS68gX7_YDADA&ved=0CAYQ_AUoAQ&biw=1393&bih=1083 Manet], [https://www.google.com.sg/search?q=monet+flower+painting&es_sm=91&source=lnms&tbm=isch&sa=X&ei=emPrU8j1KcyF8gXPuoKwCQ&ved=0CAYQ_AUoAQ&biw=1393&bih=1083#q=monet+flower+vase&tbm=isch Monet], [https://www.google.com.sg/search?q=monet+flower+painting&es_sm=91&source=lnms&tbm=isch&sa=X&ei=emPrU8j1KcyF8gXPuoKwCQ&ved=0CAYQ_AUoAQ&biw=1393&bih=1083#q=Jan+Brueghel+the+Elder+flower&tbm=isch Jan Brueghel the Elder], [https://www.google.com.sg/search?q=monet+flower+painting&es_sm=91&source=lnms&tbm=isch&sa=X&ei=emPrU8j1KcyF8gXPuoKwCQ&ved=0CAYQ_AUoAQ&biw=1393&bih=1083#q=Hokusai+flower&tbm=isch Hokusai]
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This exercise is simple: to paint a black and white copy of the Rembrandt painting.  
  
=== Assignment: Ruin ADM===
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* Download the Rembrandt painting above
The aim of this assignment is to ruin the school or part of the school. You will need to [[Taking_a_Photo|take your own photograph]]. Camera phone resolution will not be sufficient for your source image. Should you be photographing the exterior, you are advised to use golden hour light, which in Singapore is 7-8.30am and 5-6.30pm. It is also advised that you use a tripod.
 
  
Some things to remember about ruins:
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* Duplicate the background layer and desaturated it.
  
*The broken profile signifies it as a ruin. Be bold with this profile. Take care to maintain strong positive and negative shapes.  
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* Make a new file exactly the same pixel dimension as the Rembrandt. The easiest way to do this is to select all (command A), copy (command c) and then make a new file. The size of the file will default to whatever is in your clipboard.  
  
*Frequently ruins will have holes that run right through them (eg windows).  
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* Start with a dark grey background (around the average value of the Rembrandt painting), not a white one. This grey will be your mid tone onto which you will apply your dark and light tones.  
  
*There is likely to be an accumulation of debris at ground level.  
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* Paint a copy of the Rembrandt into this new file.  
  
*This debris will be staggered in size: large, medium and small.
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Remember:
  
*It is also likely to pile up along the sides of vertical surfaces.
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* Use the following tonal set: black, dark, mid, light, white. Other values will be blends of these.  
  
*A ruin is a building that has been disassembled. It therefore pays to have some knowledge of how buildings are made. A modern building will be built around a concrete frame. An old building will be made of bricks or timber.  
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* Black and white are 'rare' values, do not over use them.
  
*Cracks in plaster have their own mechanics. They will often start at holes in the plaster or from architectural features (eg a window ledge or a door frame), and fork like lightening before fading out.
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* '''Details come last'''. Do '''not''' start with a super detailed rendering of the eye. To begin with, paint big and broad and establish the positive and negative space. After that, work down to the details.  
  
*Use texture. [http://www.cgtextures.com/ cgtextures.com] is very useful. The school has an account with this website, the password and user name are in the animation folder: animation/LIBRARY/_assets/textures/CGTextures.com/readme.txt
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* Just as tones are 'three fold', so to are edges. An edge is hard, soft or diffuse. Edges are particular important in tonal painting, as they act to separate the tonal regions.
 +
 
 +
* Evaluate by copy and pasting the original over your painting.
 +
 
 +
* Work fast!
 +
 
 +
===Assignment: Piranesi===
 +
 
 +
Do a google search for an artist called [https://www.google.com.sg/search?q=piranesi&es_sm=91&source=lnms&tbm=isch&sa=X&ei=x0XqU4PXHJfm8AXtxYKYDA&ved=0CAYQ_AUoAQ&biw=1393&bih=1039 Piranesi].
 +
 
 +
He was an 18th century artist who was famous for his fantastical etchings of ruins. The perspective and tone of this art is what we will be learning from.
 +
Find a Piranesi etching that you like and re-do it as a science fiction image. Keep the overall form of the original but take liberties with everything else.
 +
The Objective is to produce a fantastical space. Pay attention to the quality of light, space and texture.  
 +
 
 +
It is almost certain that you will require good textures. These can be downloaded from [http://www.cgtextures.com/ cgtextures.com]. The school has an account with this website, the password and user name are in the animation folder: animation/LIBRARY/_assets/textures/CGTextures.com/readme.txt
 +
 
 +
cgtextures.com is limited to a fixed amount of downloads per day. It is recommended that you grab your download early. Remember, overlay blend mode is good for textures.
 +
 
 +
Don't just use imagination, use reference. Use black and white only... no color.
 +
 
 +
Remember to [[Image#Fliperoo|filperoo]]!
  
 
===Related links===
 
===Related links===
An example of a matte painting of a ruin is [http://opticalenquiry.com/photoshop/documents/ruin_master.psd.zip here (right click download)].
 
  
Check out the page on [[The Sky|skies]].
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A page addressing [[Shadows]].
 +
 
 +
A landscape is organised through its foreground, middle ground and background. These are the [[Depth Space | depth regions]] of a painting.
 +
 
 +
Creating space requires that [[Overlap]] be mastered.
 +
 
 +
A [[The Vignette | Vignette]] is a complex way of managing the edge and corner values of a painting.

Revision as of 11:26, 14 August 2014

The day will begin with a review of the procedural assignment from Lesson 2.

Perspective

Perspective is one of the means by which a scene may be realised effectively on a flat plane. It is a system which is entirely unnatural and has to be learned. The lecture notes on perspective are here (right click download).

Exercise: perspective

Perspective excersise.jpg

Examine the image above. Using it as reference quickly do the following three exercises as line drawings.

  1. Draw the scene as if you have taken three steps to the left, and also turned slightly so that you are still facing the computer.
  2. Draw the scene as if you are a giant looking down at it (giants eye view).
  3. Draw the scene as if you are looking up at it (Child's eye view).

Tone and painting

See notes on lightness organisation.

See notes on painting.

Exercise: tone and painting

Rembrandt.jpg

This exercise is simple: to paint a black and white copy of the Rembrandt painting.

  • Download the Rembrandt painting above
  • Duplicate the background layer and desaturated it.
  • Make a new file exactly the same pixel dimension as the Rembrandt. The easiest way to do this is to select all (command A), copy (command c) and then make a new file. The size of the file will default to whatever is in your clipboard.
  • Start with a dark grey background (around the average value of the Rembrandt painting), not a white one. This grey will be your mid tone onto which you will apply your dark and light tones.
  • Paint a copy of the Rembrandt into this new file.

Remember:

  • Use the following tonal set: black, dark, mid, light, white. Other values will be blends of these.
  • Black and white are 'rare' values, do not over use them.
  • Details come last. Do not start with a super detailed rendering of the eye. To begin with, paint big and broad and establish the positive and negative space. After that, work down to the details.
  • Just as tones are 'three fold', so to are edges. An edge is hard, soft or diffuse. Edges are particular important in tonal painting, as they act to separate the tonal regions.
  • Evaluate by copy and pasting the original over your painting.
  • Work fast!

Assignment: Piranesi

Do a google search for an artist called Piranesi.

He was an 18th century artist who was famous for his fantastical etchings of ruins. The perspective and tone of this art is what we will be learning from. Find a Piranesi etching that you like and re-do it as a science fiction image. Keep the overall form of the original but take liberties with everything else. The Objective is to produce a fantastical space. Pay attention to the quality of light, space and texture.

It is almost certain that you will require good textures. These can be downloaded from cgtextures.com. The school has an account with this website, the password and user name are in the animation folder: animation/LIBRARY/_assets/textures/CGTextures.com/readme.txt

cgtextures.com is limited to a fixed amount of downloads per day. It is recommended that you grab your download early. Remember, overlay blend mode is good for textures.

Don't just use imagination, use reference. Use black and white only... no color.

Remember to filperoo!

Related links

A page addressing Shadows.

A landscape is organised through its foreground, middle ground and background. These are the depth regions of a painting.

Creating space requires that Overlap be mastered.

A Vignette is a complex way of managing the edge and corner values of a painting.