Monday, November 5, 2018

Color Themes

http://www.muddycolors.com/2013/01/color-themes/



Howard Lyon
(http://www.muddycolors.com/2015/06/harmonious-color/)

The very first decision that I make when determining the color in a painting is to determine the temperature of the light in the scene. Warm or cool light? Will there be a strong color to the light? Now you need to shift the entire palette based on the light in your scene. This will simplify your palette. I find this to be rather beneficial. Every painting isn’t meant to have every single color. Part of the art and craft of painting is choosing which colors to use and manipulate to create your vision. By culling your palette at the beginning this way you are simplifying the range of colors available, sometimes by a significant factor. This is a good thing!

Knowing the mood you want to convey, or maybe there are natural factors like an overcast sky or sunset, will help you determine the temperature of your light in your painting. At first, it might be useful to take a color wheel into Photoshop and shift the color wheel based on the temperature of light you have chosen. The “Photo Filter” tool found under Image>Adjustments is an easy way to experiment.
  1. Determine the temperature of the light before choosing your palette
  2. Choose your color palette from the new limited color wheel
  3. Don’t go outside of the range of colors except for an intended effect

High key, middle key, and low key

Notes and image from Ron Lemen
 (http://www.muddycolors.com/2018/07/creating-realistic-lighting-in-your-shotsscenes-and-illustrations/)


High Key - Monet

Middle Key - Monet
Low Key - Monet






More night colors

http://www.muddycolors.com/2018/09/perfect-passage-subtle-observations/

Tuesday, March 7, 2017

Power of Gray from Howard Lyons Muddy Color March 7, 2017 post

There as an article that I recently came across (you can read it here) that was really fascinating.  Dan Dos Santos sent it to me as well and I thought I would write a quick post about it.  It shows a plate of strawberries (keep reading, that isn't the fascinating part :)).










The contrast has been reduced and the shadow color is shifted to green.  The strawberries look, as you would expect, red.  But when you examine the image closer with the eye dropper tool, you soon see that there is no red.  It seems impossible.  The entire image is in fact made of greens of various saturations.

The article concludes that the reason we see the strawberries as red is due to "color constancy".  The article quotes Bevel Conway, and expert on visual perception from the National Eye Institute:


Conway said this illusion is also helped out by the fact that we recognize the objects as strawberries, which we very strongly associate with the color red, so our brain is already wired to be looking for those pigments

I think that color constancy is legitimate, and it might add to our perception in this image, but I don't think it fully explains what is happening.  I believe it is because of a different phenomenon. That is that when a gray is placed next to a color of higher saturation and similar hue and value, that gray will take on the appearance of the complimentary color.

The reason the strawberries look red is because they are actually less saturated greens next to higher saturated greens and so they start to look like the compliment of green.  Let's take a closer look at the image and the palette.

I reduced the image down to 256 colors to simplify the colors and get cleaner color samples.  It looks the same at this point:
 


Here is what the palette (below) looks like for the above image.  It is arranged according to hue.  The top rows being a little cooler and warming as it gets to the bottom rows.  Look at how the grays fluctuate in color temperature according to how much saturation there is.

*if you take the palette in to photoshop, there are a couple pixels in the palette that are outliers

 


Here is a crop of the image with colors swatches picked out.  Note how in the close up the "red" is still perceived even though you can't really tell that strawberries are the subject. 





The swatches across the top of the image correspond to the pixel at the center of the circle.  Look at how the colors that are more blue or green are higher in saturation.  As the color starts to appear more red, the hue shifts a tiny amount (still blue/green), but the saturation drops off significantly and the gray looks more and more red.  The most "red" color, the one 4th from the left is actually the least saturated color in the crop with a saturation of just 13%.



If we shift the colors more yellow/green, the strawberries start to look purple/magenta:




Here is the 256 color palette for the image above.



This corresponds to the traditional color wheel showing compliments across from each other.

Here is the image shifted more towards blue.  The strawberries now look distinctly orange.  If color constancy were the only principle in effect, we should still see red strawberries, because we know they are red, but in fact they look orange, reflecting the compliment of blue.






I have written about this in a previous post if you want to see this in action with some paintings:

Feeling Grey Today

I look forward to hearing your thoughts.  Thanks!

**update

I created a new image to remove some of the recognizable elements and just focus on the effect.  Here the image has been run through the mosaic filter, rotated and cropped.  I did this to remove any perception of strawberries.  If you take the image into PS and check the value range of the "strawberries" you will see that there is very little change in value, just saturation.  This is important to get the effect.




Credited to Howard Lyons Muddy Color post March 7, 2017
http://muddycolors.blogspot.com/2017/03/color-constancy-or-is-it-power-of-gray.html

Tuesday, February 16, 2016

Color tricks




Color scripts for film

Notes from James Gurney blog



Here's the color script for the movie "Up." The high-chroma sequences are interspersed between gray or neutral ones, and the intense colors are reserved for important emotional moments of the film.



This color script for "The Incredibles" not only suggests a palette of colors for each sequence, but a set of basic geometric ingredients, known as the "shape language" for that part of the film.

Shadows

Notes from James Gurney blog





Color in Shadows


Here is a good example of the color of shadows, something that cameras can't capture as well as the human eye.
The sources of light in shadow are very distinct: blue sky, orange ground, and white architecture, and there are white planes facing in all directions.
The direct sunlight is coming from behind and to the right, making the illuminated surfaces a bright white.
There are two main sources of light in the shadow: warm light bouncing up from the ground, and blue skylight from above.
In the shadow, up-facing planes are cool and down-facing planes are warm. The reason for the shift in color temperature is that the up-facing planes pick up more of the sky color and the down-facing planes receive more of the ground color.


At letter (A), left, the upfacing shadow planes on the roof are receiving mostly blue sky light.
(B) and (C) are down-facing planes. The light is mostly warm-colored bounced light from the ground.
The far side of the arch (D) is getting very strong reflected illumination from the brightly lit opposite side of the arch, as well as apparently some greenish light from the water in the canal (not visible in this view) passing beneath the gate. 
At (E), the columns are a little bit lighter than other parallel vertical surfaces. They're projecting outward, receiving quite a lot of light from all directions, both warm and cool. 



Complementary Shadows


In most sunny conditions, shadows really are in a complementary color range compared to the sunlit surfaces because they're lit by the relatively blue skylight.

By contrast, the sunlit surfaces are lit by the sum of the sunlight and the skylight, with the sunlight dominating. It's easy to demonstrate this with a camera that is color balanced to sunlit white paper. When you take the same white paper and photograph it again in shadow, it's clearly bluer.

The effect is heightened late in the day as the sun is lower in the sky. More of the short-wavelength is scattered out of the sunlight, leaving more orange or red light, and making the color contrast between light and shadow more obvious.

(A brief caution on the above: the shadow side of any object receives not only skylight, but also reflected light from other sources, so if those sources of reflected light are very warm, and the sky is blocked by trees or clouds, the shadow might be very warm, too.)

At the same time, our visual system is set up in such a way that exposure to any color causes adjacent colors to appear complementary, so a yellow square next to a gray square will make the gray square look bluer.

This is an effect I like to use a lot, not only to simulate the "Golden Hour" time of day, but also in small ways, to alternate relatively warm and cool colors throughout a picture.