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More from Leucrotta
Just more playing around with markers and trying to figure stuff out. I think the most basic emotional lesson is to stop being so freakin' scared of color.
Category Artwork (Traditional) / Human
Species Unspecified / Any
Size 500 x 946px
File Size 53.4 kB
The thing that really intimidates me, with color, is that you get into questions of...
1. showing form and light (I've been getting better at this)
2. choosing something colorwise that's useful compositionally
3. in some places, having color reflect reality, without doing so giving you either a chaotic mess or just really bland stuff (I'm not very good at this part) and
4. apply color with whatever media in a way which isn't really junky and clumsy (I am terrible at this right now)
... and all of it at the same time. This is enough to send me fleeing for the safety of grayscale. Which is lovely and all -- I still like greyscale a lot -- but people are really drawn to color, people really like color, and I really get sucked into color. So color is what I need to do.
1. showing form and light (I've been getting better at this)
2. choosing something colorwise that's useful compositionally
3. in some places, having color reflect reality, without doing so giving you either a chaotic mess or just really bland stuff (I'm not very good at this part) and
4. apply color with whatever media in a way which isn't really junky and clumsy (I am terrible at this right now)
... and all of it at the same time. This is enough to send me fleeing for the safety of grayscale. Which is lovely and all -- I still like greyscale a lot -- but people are really drawn to color, people really like color, and I really get sucked into color. So color is what I need to do.
If I may suggest some things that may be useful exercise beyond 'do a thousand bad color drawings'? There is a technique which involves doing 'achromatic' miniatures of a piece before undertaking the colored work, or even doing a fullscale achromatic base piece and then glazing color over it. This preliminary or under-piece is sometimes called 'underpainting' or 'grisaille'.
1. showing form and light (I've been getting better at this)
You are excellent with grayscale. Try doing the pieces in grayscale, then glazing over the grayscale with, say, watercolor. This will preserve your grayscale form-and-light exercise and give you insight into how a given pure color is affected by shadow.
2. choosing something colorwise that's useful compositionally
The eyes are drawn first to the lightest parts of a piece, then to the most brilliant and pure hues, and track out from those vantage points towards darkness, so again, fiddling up the piece in grayscale and then planning your colors accordingly may be of service.
3. in some places, having color reflect reality, without doing so giving you either a chaotic mess or just really bland stuff (I'm not very good at this part) and
If you do the achromatic sketch first, you'll see areas of darker grey where laying down any sort of warm tone is definitely going to go muddy, fast, as will darker cold tones. This gives you leisure to replan your color scheme.
4. apply color with whatever media in a way which isn't really junky and clumsy (I am terrible at this right now)
Yeah, that one's predominantly practice. If you do try glazing over an achromatic base though, you don't have to worry about things like layering watercolor to build shadow or texture, so it helps to exploit what you feel you are good at.
I dug up a couple of sites that go into a fair bit of detail on this in case you are interested:
http://susanflockharttechniques.blo.....paintings.html
http://www.wetcanvas.com/Articles2/3261/292/
1. showing form and light (I've been getting better at this)
You are excellent with grayscale. Try doing the pieces in grayscale, then glazing over the grayscale with, say, watercolor. This will preserve your grayscale form-and-light exercise and give you insight into how a given pure color is affected by shadow.
2. choosing something colorwise that's useful compositionally
The eyes are drawn first to the lightest parts of a piece, then to the most brilliant and pure hues, and track out from those vantage points towards darkness, so again, fiddling up the piece in grayscale and then planning your colors accordingly may be of service.
3. in some places, having color reflect reality, without doing so giving you either a chaotic mess or just really bland stuff (I'm not very good at this part) and
If you do the achromatic sketch first, you'll see areas of darker grey where laying down any sort of warm tone is definitely going to go muddy, fast, as will darker cold tones. This gives you leisure to replan your color scheme.
4. apply color with whatever media in a way which isn't really junky and clumsy (I am terrible at this right now)
Yeah, that one's predominantly practice. If you do try glazing over an achromatic base though, you don't have to worry about things like layering watercolor to build shadow or texture, so it helps to exploit what you feel you are good at.
I dug up a couple of sites that go into a fair bit of detail on this in case you are interested:
http://susanflockharttechniques.blo.....paintings.html
http://www.wetcanvas.com/Articles2/3261/292/
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