Oct, 5: Graphic L.A.- pgs. 96-143, Color and Light- Sources of Light Ch. 2.

Two quotes that I like from Robh's pages:
1. "A curious, less tense mind makes better choices and observations"
2. "You don't schedule art. . . you make space for it to happen."           

I think that as a student the second quote is an interesting one. I usually have to schedule a time for my art and therefore I make a time for it to happen, but I don,t feel like I ever really make a space in my mind to allow art to happen. I often force it out because the deadline is looming 

Here are some of the steps that Robh said he goes through. The above picture shows some of them. 
1. Shape Design
2. Assigning color
3. Adding foreground
4. More Details
5. Modeling form
6. Erasing edges
7. Details and adjustments
8. Finding the Form in the clouds
9. etc. (you do this until it is done.)

Color and Light: Sources of Light

Direct Sunlight-
Sun,blue sky, and reflected light. These all have an affect on the objects that are being painted. They each bring a different feel and temperament to the painting but all are directly related to the sun itself.

Overcast Light-
Overcast allows you to paint forms in their true colors without dramatic contrasts of light and shade. Colors appear brighter and purer than in direct sunlight. 

Window Light-
Light coming through windows is usually bluish.

Candlelight and Fire Light- 
Yellow-orange in color. The effect of a light shining on a surface wakens at a rate comparable to the square of the distance between source and surface.

Indoor electric Light-
Gurney says that there are three things that you must consider when painting with incandescent and fluorescent light. Relative Brightness, hardness or softness, and color cast.
Hard light is more directional and dramatic.
Soft Light comes from a large area of light. These light sources make tonal transitions more gradual and reduce cast shadow confusion.

Streetlights and Night Conditions-
Tips for learning how to capture night illumination.
1. Take photos with  a camera on night setting.
2. disable white balance and and photograph color wheel under different street lights. Then compare photos.
3. Try urban night painting and use a portable LED to see your palette.
4. Start a scrap file of photos showing modern cityscapes at night.

Luminescence-
1. Luminesccent colors often graduate from one hue to another.
2. Blue-green colors are most common in the ocean because those wavelengths travel the farthest through the water.
3. Paint the scene first in the darker tones without the luminescence, then add the glowing effects last.

Hidden Light Sources-
You can light the scene from a source out of the frame, in the frame, or in the frame but hidden from view. the last one lends mystery because it encourages people to search for where the light is coming from. 


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