[Archived Class 1] Week Three - Theories of Colour

[Gundersen]

Nice work by everyone, where are all the old guys? All the new people are kicking our ass atm! hehe

Gonna take a while to read through all of this, So will have to do it in my lunch break later maybe

REALY nice to see activity!

[Earendil]

Philip Straub - “Where Fears Roam”

I love Feng Zhu, and I love Ryan Church, but Philip Straub is probably my favorite because he has a way of evoking an emotional response and mood via his color schemes. There's a very EVIL colour scheme being used here.

Blacks, dark greens, sickly yellow greens, and oranges make up the bulk of the clouds and landscape, and the majority of the image is painted with very dark values, making any lighter values reveal themselves more easily. Hellish red hues immediately draw the eye to the focal point of the tower, as they're the only bright red hues in the entire image, contrasting nicely with the darks of the somewhat-silhouetted tower. The bird on the left 3rd of the image, stands out against the dark clouds, and fits that area of the image because of the similar hues between it, and it's surroundings.

The darker red dots in the foreground subtly connect the foreground back to the tower, and because of the major value contrast between foreground and background, those spikes reveal themselves in full! That wouldn't have worked if say, the mist on the ground was too dark a value, then the spikes wouldn't have the starkness that you see here.

Straub does something interesting with the cloud colors. They have more saturation than the mist on the bottom, or in the background mountains, despite the fact that the cloud layer is probably the same distance, or even further away. This is obviously meant to designate the cloudscape as an important visual character; a fell light casting poison upon the whole scene. The sun cannot reach into this area, without becoming twisted up, and Straub shows us this through muddled hues, becoming more defined towards green as the light passes further into the eviiiil landscape.

[robmorfin]

- but you will get 2 marks on the marking sheet from me - one for your initial observations on the 4 paintings and one for your ongoing exploration.

Form, what do you mean by one for your ongoing exploration?

I'm glad everything went fine with the optometrist yesterday.

[robmorfin]

where are all the old guys?

Old ones in age or in this forum?

[Gundersen]

hehe the ones not new

Btw about the marking, I think he will now write what we should look more into, and we get a mark on that aswell, how we continue our research to find out even more .

[Earendil]

Ryan Church - “Hi-tech Architecture Concept”

I still love Church too! This one is one of my favorites for the variety of the colors used, and the amount of variation too.

Atmospheric perspective is in great play here, as a golden haze from the sun obscures the distant buildings on the left, and because of even more atmosphere and smoke/steam the color shifts to a more reddish haze in the background on the right.

The foreground elements are the most saturated, and the reddish orange of the right, draws the eye due to the contrast of hues. There's also a distinct difference between the city lights and the environmental light. The city lights are more neon and artificial, and help separate the constructed masses apart from the er...unconstructed ones. It also helps that the overall values of the buildings are dark, so the lights are more noticeable.

The hanging buildings, throughout the shift of colors in the sky, have relatively darker values that help bring the mass forward in space. With haze and values alone, Church establishes the relative position of the buildings in space.

[Gundersen]

Ok i figured id post my WIP for my idea to get some early imputs from some people!

My basic idea is the Chrystal that represents the dream of artists, a artifact that humans have been searching for for ages. And now that they have found it they have started excavaiting it. And the darkness of the walls and the people around it represent the dark mechanical dreams of the rest of the people..... The Chrystal will shine in a very bright colour, colouring up most of the place. While you have the colours of the lamps of the diggers going from top to bottom.

Does the idea make any sense???

So first i did a quick thumb of some sketches, then i have desided to go for a diffrent perspective, more similar to the sketch on the top right. where instead of looking from the side, you look from the top and down towards the bottom..

[chaosrocks]

3 of 4

temple scarp.
by "Hipper"

another temple. But this struck me because of its colour use the striking ornate detail in crisp saturated colours against the misty yet dramatic grey and green background. so much of the impact of this is based on the contrast of complementary colours especially the red/green dyad. up to and in cluding the bright green frieze on the foreground building and the use of greens and reds in the frontground bush. Of course you have your decreasing saturation for aerial perspective (or atmospheric perspective as it is sometimes called)

gunderson. the idea makes sense. the sketches are a little hard to decypher. um and Crystals (not matter how you spell them) while fun to draw are kinda done to death (remind me to show you the city based around a crystal I did for a now defunct indy game. shudder. some time when we are in true-confession mode). in any case. if you are planing to use this Icon. It needs to be something unique. also. Is this based on a real dream? of yours? if so you read to many fantasy novels...) It is my interpretation of the assignment that we actually use one of our own dream images....

[Gundersen]

I am one of those that never remembers my dreams, so i interpedate the assignment a bit diffrent .. well well will see how it goes

But yes i read a ton of fantasy novel, and i base the assignment more on a day dream kind of... How to discover something magicaly

[chaosrocks]

City Building
by "Hipper"

as you can see. I hit this guy's file and never left it. I don't have vast experience with gaming which is the primary source of Digital environments. Although I do go to a lot of movies. (wry laugh) but usually I am so engrossed in the movie that I am not aware whether the scene is digital or not... Its all real to me. But I digress... (as I so often do)

The clour use in this piece is subtle and desaturated Like the Corot. whereas that is done in primarily cool colours this is almost entirely a warm pallete. The tones fade subtle from warm to cool as you get farthur way. this can be seen particularly in the shafts of sunlight although the shift is only sligth from pale yellow to pale silver. Again like the Corot a small spot of red draws the eye to the main subject.

I was going to put my sketch here but I couldn't make it share the same post...

[chaosrocks]

I guess if we are sharing WIPS. I'll post this. I know the perspective is wonky. It is based on a dream. and the dark industrial elevator, and the bright classical scene represent the juxtaposition of the bright and the dark ways of dreaming. (I plan to drop the building and elevator into total grey scale.)


the stairs are the main problem.
I really need to stop thinking of environments as a stage set. But thats where I use them

[Agustin Poratti]

form: "You ask him what scene he would like you to paint - and he asks you to paint something from your own dreams. All he asks is that the treatment of colour is the top priority."

ok, people, i'm sorry if i'm wrong i don't think we have to portray a juxtaposition of the B/W and colour dreaming BUT paint something from our own dreams. you don't even have to mention the black and white dreaming stuff... it's only about a very nice dramatic colour dreamscape... i THINK that's what form meant with all that art director mambo jumbo

[Agustin Poratti]

meaning unless you do dream about the differences between B/W and colour dreams, wich is unprobable you're not going to paint about that... but something original, dreamy, and with a special care in colour....

am i wrong?

[robmorfin]

I am pretty sure we need to make a colorful one, that's what this week is about, anything you can imagine is kind of a dream, don't try to dream it tonight when you are sleeping, also, we all have had colorful dreams that we can recall, but just close your eyes and focus on it, it'll come to you.

Gundersen, what are the colors that the crystal & the lamps will emit, it'll be very dark in there and then you will have only the ground/walls color, the light color themselves and the light colors mixed, maybe you want to add other colored elements or different crystal colors.

[robmorfin]

" I really want to emphasise the difference between these two ways of dreaming. The black and white dreamers represent people who lead mechanical, boring lives. The colour dreams represent creatives and humanitarians and artists. So the colour should be really dramatic, and people should notice it consciously... we can even play with optical colour illusions if you want!"

You ask him what scene he would like you to paint - and he asks you to paint something from your own dreams. All he asks is that the treatment of colour is the top priority.

I take it back, I understand now that the Director wants us to show both approaches (b&w/color) in the same environment to show the difference between boring and cool, that's what I will try.

[Gundersen]

robmorfin: The crystal will shien strongly

AND you dont have to show the contrast between B&W and Colour, Form says in an reply on page one "COLOURFULL IMAGE"

hehe

Chaosrock You realy need to check the perspective of your painting, its very off atm.. But keep working!

[Agustin Poratti]

JESUS CHIRST PEOPLE you dont have to show B/W stuff!!!!!!!!!!!!!!!!!!
the goddamn art director is just GIVING YOU BACKGROUND on the project he is directing when he says "I want to emphasize the difference, ETC", AFTERWRADS you ask him what does he want YOU to paint and he SAYS "PAINT SOMETHING FROM YOUR DREAMS - MAKE COLOUR TREATMENT A PRIORITY"

does that means you have to SHOW the difference between B/W and COLOUR dreams in your picture???? NO it DOES NOT

god, im going mad... sry

[robmorfin]

JESUS CHIRST PEOPLE you dont have to show B/W stuff!!!!!!!!!!!!!!!!!!
the goddamn art director is just GIVING YOU BACKGROUND on the project he is directing when he says "I want to emphasize the difference, ETC", AFTERWRADS you ask him what does he want YOU to paint and he SAYS "PAINT SOMETHING FROM YOUR DREAMS - MAKE COLOUR TREATMENT A PRIORITY"

does that means you have to SHOW the difference between B/W and COLOUR dreams in your picture???? NO it DOES NOT

god, im going mad... sry

LOL!..

[Agustin Poratti]

ok, here's stage 1 of my study tasks


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Mariano Fortuny Marsal Fantasy about Faust


in this painting by Fortuny, colour is playing a very important role. it's reinforcing the division between reality and fantasy already set in the picture's theme.

let's look at the picture in black and white:



everything gets flattened, and one may even be a bit confused about what's going on.

however, in the original colour version, everything seems to work out well. we can easily understand the idea. let's see why.

i'd divide the picture in three basic zones. or maybe in zone A, and zone B - made up of part 1 ,2 and 3:



if we trace a diagonal from top left right corner to bottom left corner we can get the division im speaking about.
zone A being to the bottom right part, is made up of very dark values and mostly desaturated hues, browns, reds, there is some more saturated yellow in that framing, but packed together, the whole zone gives a very 'heavy' and real impression. warm values dominate the zone.
as we cross this diagonal, and by use of greens and blues, still mixed with warms to produce harmony along this tremendous leap, we enter into zone B. zone B contains 3 important things worth noticing.
if we look at the left bottom corner of the picture, we'll find this 'dead zone' or gray zone (part 3) mixing up with the darks from zone A. this whole part is kept gray to avoid losing attention from the eye of the viewer (this part isn't but a desaturated extension of the next part we'll discuss).
moving up and sideways, there's this bird connecting the gray zone with the most important part of the picture, we can call it part 1. ruled by mid values, it has the strongest both in value and colour contrast/complement. the saturated reds of the figure smashed against that green-blueish background. you just want to look at it, and take small breaks to discover the rest of the picture, returning as much as possible to breath fresh air inside this zone.
to the left, and losing detail and contrast, we have part 2 of this zone. higher in value, but lacking the contrast to fight part 1. in the figure, the red-against-bluegreen thing is revisited, but at a way lower volume than in part 1. around the figure there is some dancing of cold and warm, generating a little something for the eye to chew at.
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N.C. Wyeth The giant



in this illustration, by Wyeth, colour is helping again divide natural from supernatural.

even though the picture makes some sense in black and white,



colour is a way to strengthen what the artist (may have) wanted to portray.

we can divide this into zone A and zone B.

zone A being the beach, waves and the kids, is but a fraction of the size of zone B, being the giant and the clouds. however the constrast and treatment of colour is doing the trick to make zone A pop out.

zone A is ruled by warm, mostly saturated hues, containing a lot of local colour and clarity. whilst zone B features mostly cold, desaturated values, and the figure is a clear victim of atmospherical effects. hues on this zone tend to Bgrey out and mix up with pinkB as they get closer to zone A, in order to soften out the transition from one zone to the other (mix with pink) and to further empower the elements of zone A (for greys cant put a fight against those saturated primaries)

here's this, simplified:


if we keep analyzing this picture in a more subjective manner, we could say that subscounsciously, elements containing more local colour and constrast may seem more real than elements built off greys, atmosphere colours, and low constrast. so, this could had been another reason for the artist to make such decisions.
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Justin Sweet "lucynewhorse" (?)


in this rather speedy painting by sweet, a picture that could had been eerie and desolated in B/W,



transforms, through the use of hues and palette, into a very warm and comfortable place to look/be at.
the whole picture is built off warm tones, reds, umbers, some pink, all kind of yellows and sienas, touching the colds only in the greenish lightblue of the sky and the yellow greens of some trees, wich actually look a lot more like shades of siena.

colour is having different uses.
one is to breathe life into the idea of a peacefull, warm-looking natural place.
but, if we look again at the B/W version, and compare to the colour one, we can see how colour is the tool used to turn those masses of value into different bushes and trees.
last, we can say that the lower part of the painting is treated in pretty much desaturated colour, to generate interest on the upper part. and the figure is given some of the brightest colours and values.
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Craig Mullins 'boarding' (?)

this painting by mullins is a colourfest. we could broadly say that there is a big mass of cold tones to the left and another mass of warms to the right. however, in the middle of these, and all across the picture, there is a lot of mixture and we can find the most peculiar colour situations. the goal of this is to enliven the picture as much as possible. no matter where we look at, we always find this cold/warm, saturated/desaturated, bright/dark articulations saving the picture from dullness. if we look at this mosaic, we can see that it's the greys really making the picture, it's also easier to see what i see about left and right:


i personally feel i could stare at this piece for a long time before getting tired of it. that's because of the colour treatment. there's so much to look at besides the objective theme of the picture. and even if you tear apart the 'literal' out of it, colour makes it through:

also, if you know Mucha, you may agree with me this is a very "The Slav Epic" colour palette.

[D.Labruyere]

ok, first the traditionail paintings, I actually picked 3 instead of 2. The first 2 are both Dutch painters, and the other one is a French impressionist. I picked a third one since the third one uses his color quite differently then the first 2.


Artist: Jan van Goyen (1596-1656)
Title: Gezicht op Dordrecht (view of Dordrecht)

The first one I picked was a dutch painter during the golden age (17th century). He painted a lot of dutch landscapes during his live. I picked this one, both because I think it is a brilliant painting, and also because it is the city where I am born.

The colors in this painting contain a lot of browns, with here and there a well hidden blue (For example the sky) and a tiny bit of red (The red on the flags). Though I think you can almost say that he used only brown tones. I also think he used a tiny bit of purple in the shadows, though I wouldn't be completely sure about that.

The colors he used aren't very saturated though the value of the colors go from very dark (As can been seen on the ships and in the foreground) to very light (as you can see mostly in the left parts of the clouds). The colors are more saturated in the dark parts then they are in the light parts, and also get more saturated the closer they get to you.

I think that this painting works as an whole with the colors is because it is almost equal all around with it's hue. Though the same color is used almost everywhere it doesn't look boring because the big differences in Value.

He used a lot of warm colors in this picture.

I don't know exactly what he wanted to convey with the painting but to me it looks like he wanted to give a bit of an autumn mood to it, using a lot of browns and put behind the clouds a blue, which looks even more "cold" because it is quite complementary (someone has to tell me once how I have to right this word right in english) with all the other warmer tones throughout the painting.

I would say that time-wise he tries to show us something 30-60 minutes before it gets dark. This because of the much lighter colors left of the horizon, which gives to us the idea that the sun is standing very low. Also the long shadows on the water help to confey that idea.

The picture gives a relaxed atmosphere, despite the rough see. I think this is because of the lack of contrasts in the hue, and only subtle contrasts in saturation.

Ok, I think that's all I can see atm for this painting.

My next tradititional painting I picked is:


Artist: Meindert Hobbema (1638-1709)
Painting: Het laantje van Middelharnis (The avenue of Middelharnis)

Another dutch painter from the same period. This is also why I will adding a third painting who uses quite a different technique of colors. After having gone through the city I was borned, I present you now, the village I grew up in

As a contradiction compared to Goyen, he uses a bigger range of colors, and so the painting has more hue in it compared to the other one. Though not color-wise but horizon and set-up wise you can see a relation between both painters. As common with the dutch painters during the 17th century, the landscape has a low horizon and lots of clouds above it.

But to get back to the colors. As I already said, it has a lot of hue in it, though the picture isn't very saturated. He has added a lot grey to his colors. Again the value shifts again from almost black to a lot lighter on the road and in the sky.

So instead of having the hue on the same level almost all the time the saturation is on the same level almost all the time, which I think is the biggest difference between this and the other painting.

He creates space in the picture color-wise by making the colors darker in the front and lighter in the background. And also the darker colors are more saturated then the lighter colors.

I think he used the red on the roofs of the building to spice things up.

Ok, now for my last traditional painting:


Artist: Renoir (1841-1919)
Title: The path through the long grass

Well what can I say. Renoir = color. He uses a huge amount of colors, which probably most we won't even see on a picture this small.

The picture consist mostly out of warm colors, except for the trees and the people's clothing, and some purple shadows here and there.

Though you can see quite darker and quite lighter colors, I don't think that overall there is a big contrast between them. Most of the shadows and contrasts are made by making use of complementary colors, which aren't only used to create shadow but also to give the whole painting color-wise a bombardic effect.

From the yellow in the grass we go straight to the purple in the sky. From the red flowers to the green leaves. You can even see orange on the path which again stands in contrasts with the blue spots which you see best with the trees at the left side of the painting.

There has been no black used in this painting.

Ok, well this were the 3 traditional paintings I picked. I will do the 2 digital later on. I'm surprised how much time this took me, and how little I actually have put down. And from what I've put down I have the feeling more then half of it, is wrong. Well, it is a good excersise. That's for sur

-Daniel

[rvdtor]

frederic church

if there's anything i like more than trees and clouds in landscapes is water...so im a big fan of seascape...i grew up by the sea too so maybe that's part of the influence. anyway to the colors....there is an overall warm temperature in the piece, the warm hues in the upper part of the painting complement the cooler colors in the water in the foreground. your eyes are taken straight to the middle area lit up nicely bye the unsaturated yellow hues. there's an immediate break from the dark water being lit directly by the sunlight , the contrast helps with the illusion and sillhouettes the ship. the higher saturating here with the darker colors draws the eyes then to the water scape on the lower left corner. the darker hues with the contrasting highights while still mixing in the hues from the sky give great form to the waves. the lighter blue hues on the upper left and the constrasting clouds in the far distance lit up directly by light tie it all together.
water is very interesting i thi nk because of how it plays with color from allthe surroundings not only from whats above but what's below it as well.


barton

this scape just wowed me, my eyes went directly to the center right of the image because of the warmer colors where the water is being hit directly by sunlight probably from directly above tho the sun has to be behind cloud cover, the bluer hues on the left of the water and the clouds and sky create more of a contrast in the center and the saturated foam on the wave fronts bring the effect to its maximum. the closer rocks and branch have warmer hues and more saturation as seems to be the case with the other studies you guys made. the far right being less saturated, the left being a completely shifted in hue and feel concentrates everything to the middle.


edwin rhemrev

very unsaturated colors tho the heavy black in the lower left corner is a bit too flat i would think although it does give the illusion of being completely in shadow and the lighter hues in the waterfall and rock face behind it. keeping with atmospheric perspective the saturation lowers as it goes further with the last towers. the bright lights form the windows and doors give great contrast and pull the eyes to investigate each one. in the center the contrast between the figure and the waterfall make it tand out. the highlights on the rocks and the pole and difference in hues and values give the light source direction. so overall its has a grayer tone as it draws further back.



Marcin Jakubowski

the great thing about this image is the contrast between the saturated blue sky and orange from the structure...the top center portion is where my eyes go first, the parts being naturally lit. i think his use of darker hues in the lower levels and on the forground images adds to the effect. the colder shadows and the warmer colors on teh building just make pop out even more. of course less saturated blues and oranges are used to give texture to the building. atmospheric perspective keeping witht he hues and blending them gives the desired effect of distance.
also the light source coming from the ship the saturated blue draws the veiwers vission there and the lit smoke and uderside of the ship give it a great effect using contrast.




well thats it for me my four studies tho im sure i didn't give some of these paintings justice.

since this is a learning thread i'd like ot ask some quesitons u know to discuss and stuff...im not very good at value and hues and stuff like that cause i never studied it before.
for the last picture with the space ship...ok would it be right in saying the pictures has blue hues, orange hues touches of green and maybe some purple. in values the distant objects in orange hues have lower value than the forground orange? and the blue hues have less values in the shadow of the object? also the shadows appear cooler because of the warm color in the main building? the main building has more saturated oranges and the shadow is unsaturated blues? is that right? i mean its harder to grasp the concept of value and saturation effectively with only words but if there are pictures like we're doing it more effective i think.

[chaosrocks]

you know,I work for theater directors
and some times, its cool to give them MORE than what they actually asked for .
asa costume designer I love talking to my directors to see where they are coming fromm . and trying to see if what i can give them is more than what they expected. maybe even pushing their ideas into new directions. ou dont have to take what an at director says as gospel. but you do have to take what they say. If you want to make some thing new of it. you better be able to sell it really well.

[Gundersen]

Alot of nice studies by people here, I havent read through all of them yet, but I am working on it

Its been quiet here for a while now, and i thought about bringing up some general discussion regarding colour theory.

So here are some loose question to make people think maybe..
- Is colour contrast most efficient in temperature contrast or direct colour contrast?
- What is the main purpose of colour in an image?
- Can colour save an image from being bad?
- What do YOU think is the best way to use colour? Do you prefere to put down the main colour first, or do you put down the contrasting colours?
- Can the use of Temperature changes be used to create a focus point?

There are many things you can say about colour i guess, its a pretty hard topic to study, and for me i learn the more i think about it and look at other images. But also by experimenting with what works and not.

Colours in an image doesnt need to represent reality for me, I like to use colours in a more freely way to represent a certain mood and feeling in the picture. Thinking more in the way that I dont need to paint a skyscraper nececarely grey cause thats the most common colour, but depending on what the mood of the city is gonna be you can experiment with colours. It might represent the cold environment of liveing in a big city that some people experience, and it might be better then to use cold colours more in the direction of blue to represent this.

This topic is probably one of the hardest one we have. There are so much you can explorer here:
- Colour conttrast
- How colour works in light and shadow
- Temperature contrast
- What colours create certain temperatures
- What colours creates feelings and moods of an image

Here is what some countries say about diffrent colours: (Information is gathered from diffrent sources)
Wester culture
Blue, Red, White and Grey = Stability, Power, Trustworthiness, Conservatism
Yellow, Brown, Orange, Green = Nature, earthiness, warmth
Red, Orange, yellow = more warmth
Blues and Aquas = water and coolness
Primary colors (Red, Blue, Yellow) = Convey fun

Asian culture
Red: Happiness, marriage, prosperity
Pink Marriage
Yellow: Against evil, for the dead, geomantic blessings
Green: Eternity, family, harmony, health, peace, posterity
Blue: Self-cultivation, wealth
Purple: Wealth
White: Children, helpful people, marriage,
mourning, peace, purity, travel
Gold: Strength, wealth
Gray: Helpful people, travel
Black: Career, evil influences, knowledge, mourning, penance, self-cultivation

This show how we look diffrently on several colours in the west and the eastern parts of the world. Also if you look at this colour has alot to do with Psycholigal effects from person to person. Two people might look at the same paintings and get diffrent feelings from it. There are several pages on internet where you can read about how colour have an effect of psychologicaly. Like here: Wikpieda: Color.

Here is also an image to show the difference in colour temperature
(Taken from: Here)


Any input on this guys/girls??

[daldbaatar]

Hi guys. Long time no see. Here is the first assignment I did. I’m seeing some pretty good explanations on some people. But as we do know that we come at a common ground in the end on theories. I really appreciate our classmates' efforts. And i did learn a lot on seeing at picture, as for example: how to use mosaic effects and desaturation to further make examinations at picture, find and look at compositions...and gundersen's hints and tips view on colors in different cultures, how to use color picker effectively to make custom color palletes etc. Thanks guys. My english isnt that well so please be humble if i write anything wrong or unlogical.


Caspar David Friedrich “the Polar sea”
This painting took my attention because of the colors and lighting. As u can see there are so many hues and values mixed in making it so colorful. But it doesn’t have much saturation. The basic colors are mostly cool colors. As blue, tan, green and browns. This affects the picture’s atmosphere overall coldness.
The background gets more cooler and less contrasted as it gets further. And the sky looks so cloudy. But there is a little sunlight passing in to the center. The sunlight position is made clear by more lighter colored clouds. But the light colored clouds are still greyish. The painting takes the viewers’ eyes directly at the center. Because the contrast of light and dark and I think there seem to be slightly higher saturation of colors there. And It also stands out from other areas like background and foreground. For the foreground the painter used more darker colors and less saturations.


Thomas Cole “L’Allegro”

This painting has more lighter colors and warm tone. The overall tone looks ochre yellowish. As u can see this painting has 4 perspective levels. So let me start from the most farthest.
As for the sky and far away mountains it still kept the warm colors. But as u see the mountain in the far back end it looks violet and that means the color went cooler and the color of the sky affected it greatly ( it reminds me of Form’s saying : as these factors are always changing, it is impossible to say that 'a red apple should always have bluish shadows'. Because if it is placed on an orange table that theory goes out the window. ). And it looks less contrasted and the details are near zero.
As for the 3rd mid ground the saturation is low, and less contrast making it look that there is a lotta air atmosphere. As for the shades in the mountain it doesn’t have blue tone but went more grey dark.
2nd mid ground becomes more contrasted and higher saturations as it come close. Even thou the tree and hill are both green the heavy dark shadows in the trees make it easy to separate. An this also applied for the ruins too.
The foreground is the most contrasted and most saturated part in the picture. It has more warmer colors. And the grass are affected strongly by it and looks almost yellow ( well yellow green of course ). Since we know the overall tone it doesn’t look yellow. But the artist put the most high saturation, contrast and lightness on the people in order to make it the first thing we will see. The grass and ground on the front right of the picture has lost its colors a bit, due to shadows cast over them.



Matthias Verhaselt
Here is another great example. It was mostly done with cooler colors because of the setting. The setting is in a misty area and mountainous, making it rich with shades and grey tones. The same thing also happened here is that the further it goes the cooler and close to the sky of the color it gets. And of course less contrasts. Mist sure does it’s thing. But also I think the strength sunlight has great effect on the saturation of colors itself.


Final fantasy
I think this was a concept art. I was just shuffling through my collection of digital arts and stumbled upon this one. I don’t know who did it…it doesn’t matter anyways.
The haze in the air has made significant effect on this one as you see ( same as mist – I hope you remember when I spoke about dryness and humidity effects in the last week’s class). The haze is actually the color of the sky it seems. And it had blurred out most of the part and lowered the contrasts. As the objects get further away it’s colors have became more similar to the color of the sky and cooled down. We can see that the closer ground looks bit more warmer and slightly high in contrast of values and saturation.

Soon i will post the "Dream" work

[jodali]

Here is what some countries say about diffrent colours: (Information is gathered from diffrent sources)
Wester culture
Blue, Red, White and Grey = Stability, Power, Trustworthiness, Conservatism
Yellow, Brown, Orange, Green = Nature, earthiness, warmth
Red, Orange, yellow = more warmth
Blues and Aquas = water and coolness
Primary colors (Red, Blue, Yellow) = Convey fun

Asian culture
Red: Happiness, marriage, prosperity
Pink Marriage
Yellow: Against evil, for the dead, geomantic blessings
Green: Eternity, family, harmony, health, peace, posterity
Blue: Self-cultivation, wealth
Purple: Wealth
White: Children, helpful people, marriage,
mourning, peace, purity, travel
Gold: Strength, wealth
Gray: Helpful people, travel
Black: Career, evil influences, knowledge, mourning, penance, self-cultivation

This show how we look diffrently on several colours in the west and the eastern parts of the world. Also if you look at this colour has alot to do with Psycholigal effects from person to person. Two people might look at the same paintings and get diffrent feelings from it. There are several pages on internet where you can read about how colour have an effect of psychologicaly. Like here: Wikpieda: Color.

Here is also an image to show the difference in colour temperature
(Taken from: Here)


Any input on this guys/girls??

As for what the different parts of the world think of what colors mean to them, that can always cause some problems because what one person sees in an image, just because of the colors, that will be totally different from what the next person will feel or see. I've always wondered if there was a set of rules for putting colors together like red and green or yellow and blue. These are just random, but is there some way out there that to effectively combine colors in a painting that will give a certain sense of emotion to anyone. and pretty much transcend certain eastern and western sociological influences.

About that color table, I have seen that before and it has always confused me when it has to do with colors. According to that, the bluer something the warmer it is (10,000k), and the more red it is the cooler it is (1,000k) but thats just my interpretation, but this seems backwards to me, with this if your temperature number is higher that means warmer. I thought that cool temperatures were blue (like ice or water) and warm temperatures were orange, red (like a fire)

on my monitor, there are different color settings (hitachi CRT);
9300k 6500k 5000k
9300 being more blue-ish and 5000 being more orange-ish.
this seems to go with that color table

this monitor was originally set up to adobe's color settings. they give you that little picture with the greyscales and all the different colors, and you have to go thru that process with adobe, changing all the settings on the monitor.

Anyway these are just my thoughts, it would be great to here what you guys think.

[Earendil]

We covered color temperature in astronomy class, it relates to the colors given off based on burned energy.

Some stars are blue/white and have a high color temperature of ...10,000,000+Kelvin, but don't quote me on that.
Some stars burn red/orange and have a lower color temperature of ONLY 7,900,000Kelvin.

Incandescent light bulbs "burn" at about 5600Kelvin so they have lower color temperature, while the brighter, whiter, bluer (remember why the sky is blue?) light from the sun outside is a higher color temperature of around...what was it...8700? 7800?

Did this help at all?

EDIT: Here, check out this article.
http://en.wikipedia.org/wiki/Color_temperature

Much better job of explaining.

[Gundersen]

Nice to see some discussion starting guys!

Jodali Yes indeed it would be cool to get some understanding to create certain moods with diffrent colours. Everyone knows that a blue icy landscape looks cold, but what kind of colours can you use to create a romantic feel? angry feel? Lonely feel?
So many hard questions..


The Temperature thing:
I see that it can be confusing the first times you look at it since logicaly you think that a darker colours is warmer. But lights aswell as colours are counted in theire strength to lighten up a place. A candel light is counted as 1 Lux, which is the weakest source of light by scale we use in Architecture.

So the blue light is a stronger light source when it comes to lighting up something, you can easily see that on new cars where they are useing Neon head lights instead of the old classic ones that had a more dark yellow light.

So yes in the way we look at it, Dark colours a warmer and Light colours cooler. No idea if that explained anything or just made everyone prety damn confused hehe

[robmorfin]

2nd Assignment - Dreamscape. Will be very colorfull. perspective is not off, trying to create optical illusions as proposed by the director.

[Gundersen]

robmorfin Can you explain a bit more about your ideas and thoughts about your sketch Its a bit hard to comment on atm since i have no idea what you are showing.

The perspective looks correct So there are two persons standing in the front looking into this seemingly 1 point that disapear in the horizon? What are all those elements around representating??

/me wants to hear more

[jodali]

the following is a quote from wikipedia.......

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In physics, Planck's law describes the spectral radiance of electromagnetic radiation at all wavelengths from a black body at temperature T. As a function of frequency ν, Planck's law is written as:

I(\nu,T) =\frac{2 h\nu^{3}}{c^2}\frac{1}{ e^{\frac{h\nu}{kT}}-1}. [1]

As a function of wavelength λ it is written (for infinitesimal solid angle) as:

I(\lambda,T) =\frac{2 hc^2}{\lambda^5}\frac{1}{ e^{\frac{hc}{\lambda kT}}-1}. [2]

Note that this formula will vary slightly by a constant factor (often a pi) depending on the field of view assumed in the derivation. Note also that the two functions have different units - the first is radiance per unit frequency interval while the second is radiance per unit wavelength interval. Hence, the quantities I(ν,T) and I(λ,T) are not equivalent to each other. To derive one from the other, they cannot simply be set equal to each other (ie: the expression for λ in terms of ν cannot just be substituted into the first equation to get the second). However, the two equations are related through:

I(\nu,T)d\nu=-I(\lambda,T)d\lambda.\,


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It seems that I have jumped into a pit of chaos and confusion trying to deal with color theory btw I have absolutely no clue what any of the above means