Prof. J. Longo | Fall 2023

Category: Lectures (Page 1 of 2)

Lectures

Week 1 Welcome & What to Expect

Week 1 Illustration Process Part 1

Week 2 Who’s Who in Commercial Art

Week 3 Concept Development Techniques

Week 4 Design Concepts in Illustration

Week 5 Value in Illustration

Week 6 The Wonderful world of INK

Week 7 The Wonderful world of INK part 2

Add lecture

Week 8 MIDTERM no lecture

Week 9 Editorial Illustration

Week 10 Color in Illustration

Week 11 Narrative Illustration

Week 12 Telling the Story

Week 13 Character Design

Week 14 Faces and Expressions

Week 15 FINAL CLASS no lecture

PRO-TIPs!

Save Time. Save Cartilage. “ProTip” is a tip given by a professional, meaning it has value in its field. Often ways to do things more effectively and faster to save time and effort. Sometimes it’s a technique hidden beyond the basics that are so helpful and lead the way to advanced learning.

Use this page to post PRO TIPS, Shortcuts, Clutch Key Commands, Helpful Secrets or Essentials for ProCreate or Photoshop that aid and assist in sketching, drawing, inking, digital coloring, cleaning files….ANYTHING THAT HAS HELPED YOU THAT YOU THINK WILL HELP OTHERS!

WORKING IN COLOR

Color is one of the most powerful aspects of making art. Almost everyone who loves to create can remember the childhood excitement generated by a brand new box of crayons!

1466032830041

Everyone has a favorite color, artists and non-artists alike.  Our relationship to color is one of the most powerful relationships we have as a species. It is intrinsically connected to how we relate to our world. And so of course it is one of the most powerful aspects to consider when making art.

Color Temperature

Much of our relationship to color is based on instinct. For example, we see colors as warm or cool based on our physical response to them.

1466033269032

Warm things are warm colors (such as fire, the sun, hot coals, and in this case hot food.)

1466033283844

and cool things are cool colors (such as water and ice, which as blue or bluish).

1466033301650

Interestingly warm and cool colors also create a sense of perspective and depth when we look at an image. Warm colors tend to advance towards us, whereas cool colors tend to recede away from us.

In these two images note how early 20th-century illustrator Edmund DuLac uses this trick. In the first image of The Princess and the Pea he creates a sense of incredible height, as the cold blue-purple recedes from the viewer, effectively raising the height of the bed canopy. And in the second one, A Palace of Wonder, a sense of depth is created between the warmth of the interior space and the cold dark outside.

1466033989719
1466034009733

COLOR AND CULTURE

However, a great deal of our reactions to color are not innate, they are in fact cultural. For example Black and Death are associated in many Western cultures, in many Eastern cultures it is associated with white—its direct opposite.

Take a look at this info-graphic. Note how many color associations change, depending on where you are in the world. However also note how HOT and COLD or Color’s Relationship to Temperature do not.

It is however important to understand your target market and the culture that they come from, because culture has a strong influence on the development of cultural-color associations in childhood building the adults eventual perceptions of color.
It is however important to understand your target market and the culture that they come from, because culture has a strong influence on the development of cultural-color associations in childhood building the adults eventual perceptions of color.

Throughout this module and the next we will look at these basic reactions we all have to color and learn to compose in color effectively. We will build on what we have learned regarding composition, concept, point of view, and value and we will see how we can use these reactions to color to aid us in our ultimate goal, telling a great story through narrative illustration.

However, before we can do that lets be sure we have down the basics.

THE COLOR WHEEL

The color wheel is one of the most powerful tools artists and designers have to help us understand and use color effectively.  It is strongly recommended that as you examine the different color schemes thought this post and the following, you look at a color wheel and plot them out.

1466035082557

FUN FACT! The first circular color wheel was created by Sir Isaac Newton in 1666. As if the laws of planetary motion and gravity weren’t enough!

1466094968998

Foto: picture-alliance

1466095035989

We begin with a three-part color wheel that shows only pure colors, meaning colors which no amount of mixing will result in. These three colors are of course our primary colors: red, yellow, and blue. All other colors are derived from these three hues.

1466095027770

Next we move on to our secondary colors.These are the colors formed by mixing the primary colors with each other: green, orange, and purple.

1466095133395

You can further break down the color wheel into tertiary colors.These are the colors formed by mixing a primary and secondary color: yellow-orange, red-orange, red-purple, blue-purple, blue-green, and yellow-green.

1466095577744

And of course we divide that wheel based on Color Temperature, with warm color opposite cold.

To create a successful illustration, your color palette or scheme needs to support your big idea. It must work to further your narrative and or concept.  If you have already taken Color and Design, you will have worked with various color schemes.   In the next few posts, and in the remaining weeks of class, you’ll look review color theory in detail, and see how those color schemes can influence narrative. We will also look at how they are applied in both fine art and in contemporary illustration

Drawing by Philippe Buchet, Color by Matt Hollingsworth

The Three Attributes of a Color

To accurately describe a color and differentiate it from another there are 3 attributes to measure.

1466095636630

HUE

When the average person says “color” they are actually mean hue. The hue of a color is its particular light wave energy frequency. Remember, light is waves of energy, and white light is contains all possible colors! Violet is the highest visible light frequency and red is the lowest, which we humans have receptors to see.

In this diagram, note how the blue becomes pink, but all of the colors in between are of equal intensity, as it as it moves from right to left.

SATURATION

Saturation (or chroma as it is sometimes called) means a color’s purity. When people are talking about a color’s intensity they mean its saturation or chroma.

In the diagram, note how the blue becomes less saturated as it as it moves from right to left.

VALUE

As we discussed earlier in the course, colors have values just as shades of gray do. A color’s brightness or darkness, and its nearness to white or black respectively, is the color’s value. Value is independent of hue or saturation and can be seen even in a black-and-white photo.

Tints, Shades, and Tones

Value has is has its own color terminology.

Remember that the value of a color is how light or dark a color is, or how close it is to black.

Tints are when we add white to a pure hue:

1466095651592

Shades are when we add black to a pure hue:

1466095660440

Saturation also has its own color terminology.

We get different tones when we add gray to a pure hue:

1466095671579

Another way to envision this is as the hue itself becomes less saturated, it appears more and more gray.

Munsell’s Color Tree

Talking about color can be very misleading! For example, when you go to a paint store, you can buy a can of Honorable Blue, Flyway, or Wondrous Blue! When we say Flesh Tone, what exactly does that mean? Whose Flesh Tone are we talking about?  It can be very confusing!

1409346652367

Albert Munsell, an artist and professor the Massachusetts College of Art and Design, felt the same way. In 1905 he developed a “rational way to describe color” using numeric notation instead of names to describe color. To assign these numbers he used the three attributes we discussed above: huevalue, and chroma (saturation).

1409346684313

In the diagram above, you can see the traditional color wheel as the center ring, and Munsell’s Color Tree, as it came to be known, growing from the center. The trunk of the tree represents zero to ten in value. The farther we move from its “trunk” represents an increase in chroma, until the hue—represented by the separate “branches”—is at full saturation, farthest away from the center.

1409346719572

Munsell’s Color Tree

« Older posts