One of the properties of light is its intensity. The intensity of the light that falls on an object allow us to perceive the local color of the object and the range of tones of the color between very dark and very light. We use this property of light to determine the quality of the light. Because of this property, in order to create the illusion of light and shade is not only important to follow the rules regarding cool and warm colors but also to the rule of value contrast. The rule to remember regarding value contrast for a given color is:
"The lightest value of a color in the shadow is of darker value than the darkest value of the same color in the light "
This rule is very important when we are painting a sunny scene with wide dynamic range between the shadow and the light areas. In all cases we need to determine, before we start painting, the threshold values of each main color of the painting that will separate the "light family of the colors" and the "shadow family of the same colors". For example, in digital painting we would first create the color notan. This abstract placement of black and white shapes can be replaced by painting masses of the basic dominant colors in the scene. Placing only colors of the shadows family and of the light family. By following the value contrast rule: laying down the large masses of color in such a way that the darkest color that "lives" in the light would never be darker that the lightest color that "lives" in the shadow family. Please see how the value range rule is applied in the gray scale example. I also carefully selected the purple colors in the shadow that were exactly the complementary color to the red and orange colors in the light.
The point is that no matter how intense a given color may seem in the light, is never darker than the lightest value of the same color in the shadow. Notice in the color sketch that the family of reds in the light are never darker than any of the reds in the shadow. In this sketch the purple values are all at or below the Value 140 in the HSV (Hue, Saturation, Value) color model, regardless of the saturation.
 |
| City Sun. Digital painting made with Painter 11. |
Logging you in...
Nokia 215 flash file · 161 weeks ago
Robert Hopkins · 59 weeks ago
Your work is truly inspiring! The way you express yourself and handle values is remarkable.
As an artist who works with Oil and Watercolor, I've recently delved into Rebelle 7 as well. I was hoping you could either share a storyboard depicting your process in Rebelle or create one for us. It would be immensely helpful to see some screen prints of your workflow while creating a painting in Rebelle.
I'm somewhat uncertain about the best approach for painting landscapes digitally. I've been considering sketching the initial outlines with yellow ochre on the canvas, then focusing on the shadows and darkest values first, followed by mid-tones and finally lights. Digital painting offers numerous advantages over traditional mediums, but I'm cautious about learning improper techniques from online sources.
Your insights would be greatly appreciated!
Kind regards,
Robert Hopkins
Robert Hopkins · 59 weeks ago
It would be incredibly exciting if you could capture your painting process using external video recording software instead of relying solely on Rebelle's internal recording feature. Having your commentary alongside your painting would provide invaluable insights. This approach would allow viewers to observe your settings, brush choices, color selection methods (perhaps utilizing imported color sets), and more.
Your artistic prowess is truly remarkable!