Tutorial And Or Tips In Color Studies?

Tutorial and or tips in color studies?

Hi there! Sorry to keep you waiting on this ask!

I do have another post about landscape painting which overlaps slightly with this. But here I’ll talk specifically about the observational color studies I like to do. Other artists might have different ways of approaching them (and I still have a lot to learn myself), but these are some of the ideas I’ve found useful.

1. Don’t seek perfectionObservational color studies are just that – studies. Sketches. Note-taking to reference later. They’re not supposed to be complete paintings, so you shouldn’t feel pressured to make them “perfect”. I like posting them sometimes (and hopefully you like seeing them) but there are TONS of messy, scribbly studies I haven’t posted anywhere. They’re primarily a tool to help me learn, and if messy studies help me learn, so be it!

2. Simplify your shapesSo how do you avoid getting overwhelmed and lost in the details? Focus on the BIG IDEA. Decide what is most important to include in the study and leave out everything else. Start with big shapes, and add details at the very end, if you have time. Personally, I’m often interested in the sky and the color clouds become when light passes through. So I might make the study about the clouds and ignore buildings/details on the ground. or I’ll add only a very simple ground plane. Other times, I’ll rearrange a composition to include all the important information (like making an object bigger or smaller, or bringing two objects closer together).

3. Step by stepIt helps to find a good workflow, especially when you have to quickly prioritize what information to include. This is relevant especially when you’re painting something like a sunset, when the light changes RAPIDLY and you’ll have only 3, 4, 5 minutes to put your colors down. For me, this usually means I build my study from background to foreground: sky, clouds, ground plane, background shapes, foreground shapes. Since I work on iPad Pro, I also keep those parts separated out into layers. In the case of those quick sunset studies, I also observe the parts I haven’t painted yet in case the lighting changes enough that I’ll need to work from memory.

4. Some fundamentals to keep in mind:

Value structure: Even though these are color studies, value plays a major role in the colors you’re observing. Pay attention to the difference in value between subjects. Sometimes this can solve color-related problems when your study seems “off” somehow. (For example, maybe that sky isn’t as light as you think it is? A darker value might mean painting a more vibrant color.)

Lighting setup: Identify the different light sources in the environment. Is it cloudy and overcast? Sunny? Are you indoors, with multiple different light sources? A little study about lighting theory can really help you know what colors to look for in different lighting conditions. For example, in overcast light, you’ll see more of the objects’ local color, while in bright sunlight you’ll see a strong direct light (the sun), blue diffused light on shadows and top-facing planes (from the blue sky), and a warm bounce light (from sunlight reflecting off the ground). Will forever recommend James Gurney’s book “Color and Light” for help learning this.

Materials: Different materials reflect light sources in different ways. Being aware of how light passes through or reflects off different materials can help you understand the colors you’re seeing.

5. Going beyondAs you become more comfortable making observational studies, the more you might wish to push them even further by not just copying from life but communicating a feeling. A few ways you might accomplish this:

Exaggerate your colors. Suppose you see a hint of color you wouldn’t normally expect to find, such as notes of purpose or red near the horizon of an otherwise blue sky. Try making it brighter/bolder than you really see it. Bump up the saturation, maybe. This is a delicate balance, as you don’t want to exaggerate to the point where the colors become garish. But putting emphasis in certain places can remind yourself, or show whoever’s looking at your study, that you found certain details interesting.

Think about mood. A color script from an animated film follows the emotional beats of the story. As you’re making your studies, consider: how does this moment feel to me? Take a cloudy scene, for instance. Is it cold and miserable? Windy, full of movement and energy? Calm? Dark and ominous? A moment of anticipation or hope with the clouds about the break apart? Each of those conveys a completely different mood. So you might decide upon one and push your color palette to support that idea.

Don’t just copy: communicate. This last one is a bit of an abstract idea I need an example to explain:

This sunset study here gave me difficulty because it involved not just color but the properties of light. The sun didn’t actually appear white to me - it appeared a bright red/pink color, glowing brighter than the sky around it. But that wasn’t something I could reproduce, because if I only painted the color, it wouldn’t appear glowing and would blend into the rest of the sky. Instead, I had to think critically: how do I communicate the brightness of this sun? In the end, I opted to make the sun white, with the color I actually observed the sun to be surrounding it.

On my Instagram, I’ve posted a lot of process videos to accompany my studies, if that interests anyone! They’re always second image on the studies’ posts.

I hope you find these thoughts helpful! 

Thank you anon! l made some small examples of how l do folds and I’m going to try my best to explain it as best as l could.

When drawing clothing, it’s best to use a cylinder as a guide on how the fabric would look being wrapped around it. The folds of the fabric should be following the same direction of the cylinder’s form with round strokes. The first mistake from the example below, straight lines can takes away the form and leaves a flat unnatural feeling. Remember to think 3D!

Creases and folds should be drawn on tension areas, as in when the fabric gets tighten or fold together. Think of the direction on where the tension is going or coming from. The more tension there are, the longer and straighter the crease is. When the object bends, fabric tends to make a oval-ish looking hoops with overlapping folds (Do not over do them or it will look tedious).

There are more to it for drapery, this is just the basic idea of what to look out for when drawing clothing. BUT most important of all is USE REFERENCE!! I know it’s the most used excuse, but for sure use it because it will be super super helpful! 

Eyes Ref ¾ up by Miko-Noire

hello! hey! quick psa!

when mixing skin tones, always mix in lighter and darker complimentary or analogous colors (such as pinks, reds, and purples) to change value, don’t just add black or white to change a value

this way you get a real nice looking palette like

instead of a dead looking palette like

unless you’re going for dead, in which case carry on 

anyway thems my tips

Heads up PayPal is changing ToS again

And they are getting even more strict when it comes to not using invoices for charging for Digital Goods.

Whatever Invoices make you uncomfortable or not, you gotta start using them if you want to keep your PayPal and your money. Changes starting this October 19th.

Honestly I don’t get why so many artists are so overwhelmed by invoices, takes just a few clicks to set up. 

And is not only “oh you have to use invoices because PayPal says so” if you don’t use invoices you’re putting yourself at risk of being scammed by an user abusing the buyer’s protection. 

Since PayPal ain’t got no idea of what those $50 you received were for, but the buyer is saying they didn’t got anything for the money, PayPal will just side with the buyer.

I’m seriously begging ppl, start using invoices. I’m tired of seeing ppl complain their paypal was banned, or is under investigation, or worse, the $100 they got for a very complicated commission, 3 months later get a refund issue. 

just

start

using

invoices

for your own sake. 

Here is how you use invoices because I can’t keep playing devil’d advocate, yes I would love to help you get your PayPal restored but just this last month I had to help three persons, and they were MORE than aware of this issues. 

Just protect yourself. 

Step 1. You login and click here

Step 2. You click create new Invoice. YOU NEVER CLICK REQUEST MONEY, unless you want to risk yourself to get scamer by buyer’s protection exploit and not only lose your money but your paypal account, and any future paypal linked to your irl name. 

Step 3 You follow this steps

1. Invoice for amount only

2. Ask your client for their PayPal email and put in that field

3. Add a vague description of what you’re doing, something like “Character Coloured with Background” is good enough, and if you need more than 1 character you can type in “2″ where it says amount, or just say “2 characters”.

Warning: don’t type in “Naruto rawing Sasuke”. That will get you banned. 

4. Click send. 

Optional steps. Create a template, doesn’t take more than 10 minutes and it will save you a lot of time for future invoices, you can even click on “items” right next to “create invoice” and add a list of services you offer such as “character sketch” “character flats” along with a price, so next time you invoice you just add to the invoice from your list of items and you saved yourself some more time. 

More importantly, you protect yourself from buyer’s protection exploit because if PayPal knows you’re doing digital goods, then you will be allowed that you did in fact created a digital good. 

Keep PayPal happy, as for right now there are no alternatives to this service, and this is the only source of income for many freelancers. 

Stay safe.