Transmitted Light:
the light reflected on and through leaves.
There are
four kinds found on leaves:
·
The light part of the underside – the strong
chromatic bright green.
·
The dark part of the underside – the strong
chromatic dark green.
·
The light part of the upper side – the low
chromatic light green.
·
The dark part of the upper side – the low
chromatic dark green.
Subsurface Scattering:
when light enters the skin or a translucent material and spreads out
beneath the surface. It show up most
when 3 conditions are met: translucent flesh, small forms, and backlighting. My
favorite example is when light shines through an ear.
Color Zones of the Face
Did you
know you can divide the face into three zones of general color? Red, yellow,
and blue! Well, blue shadows appear on the chin, pink highlights on the cheeks,
and golden shine on the forehead.
The Hair Secret
I have been trying to figure out hair for so long. James Gurney really clarifies how it’s
done. First, use large masses instead of
doing individual strands everywhere, be selective on where you do single
strands, making sure it’s even through out.
Next, where the hair meets the temples, neck, and other skin don’t make
the edges too hard or it will look like a helmet. When it comes to texture, lighting
arrangements are key and essential.
Finally, use a big brush; this helps to simplify.
Caustics: the effect
of light bouncing through water.
They can
be, “spots, arcs, or wavy bands of light projected onto a surface by means of
refraction or reflection from a curved glass or from waves on water.” For example, light can shine through a vase
of water, shimmer over the ocean floor, or reflect onto a ceiling.
Specular Reflections
These are
objects that are shiny like metal, silver, or gold that reflects light. The bigger the surface the more values you’ll
need to paint it.
Highlights
Interestingly
enough, any plane parallel to that of a mirror reflecting light will reflect a
highlight as well. Highlights don’t
form only in the center of large objects; they can be twigs among trees,
scratches on metal, and so forth.
Color Corona: usually seen looking at or taking pictures of
street lights, care lights, the sun, and wet surfaces. It is the region of strong colorful light
around that surrounds the light source (sun, streetlight, etc.). It can
actually appear brighter than the white of the paper.
Motion Blur
Two
kinds:
·
Motion blur- when an object, in front of
stationary objects or people, moves rapidly (they are blurred.)
·
Speed Blur- imagine a bird in focus as he soars
over the valley. To be able to paint
“the valley” or given background, place the colors in wet paint and then with a
soft brush blur the edges.
Photos vs. Observation:
I wish I were half as good as James Gurney. I think I will live and breath this book for
the next few years so that I can imbed everything he teaches here and really
become a master painter like him. I say
this because his moss on a rock painting is more beautiful than the actual
picture. He gives us the following tips
to using photos without actually losing color/life:
1.
Make a quick color study, if on a time crunch.
2.
Turn your photograph to black and white so you
are distracted by the color there.
3.
Take a picture when it is overcast so that
lights and darks are so strong, or you can use a large white reflector to
bounce back light into shadows.
4.
Use two separate photos for reference by taking
TWO exposures: one for the lights and one for the darks.
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