Oct. 26: Visual Perception

• color blindness affects about 10% of the population.
• our role as artists is to share the world how we see it with others so they can see it for themselves.
• The visual brain processes tonal information separately from color information.
• Tonal pathway of thought interprets the where
• Color pathway interprets what.
• specifically moonlight

• Moonlight:
• moonlight is a neutral or reddish colored light
• is so close to the minimum threshold of our color receptors
• why do so many artists paint moonlight with a blue or green tint?
• Do we actually see it that way?

• Edges and Depth:
• Oversharpness in paintings happens because our eyes naturally adjust their focus to both  near and far objects 
• This can confuse a viewer and should be adjusted so that the painter can emphasize the focus of the painting.

• Adaptation and Contrast:
• shadows or planes are unaffected directly by the light receiving a complimentary contrast to the hue of the light source.

 

• The Munsell System:
• These colors range in value from black(0) to white(10) and a range of chroma from least to most intense. thus creating a cylindrical shape.

• The Yurmby color wheel:

• Grays and Neutrals: 
• use grays mixed from the color tint your painting to balance the contrast and harmonize the painting

Oct, 19: Color Relationship

• Monochromatic Scenes:
• The monochromatic color scheme is composed of any single hue taken through a range of value and chroma.
• Monochromatic paintings often have an antique feel.
• 
• Warm and Cool:
• Some languages have only two words to describe a color. 
• One for Warm colors and one for cool.
• A color can be warm next to a cooler color and cool next to a different warm color.
• 
• Triadic Color schemes and Color Accent:
• These two forms and systems of painting can emphasize specific parts of a painting. 
• an artist can choose where they want to lead the eye and how to define the focus point.
• A color accent is any small area of color that is noticeably different from the rest of the colors in the composition. 
•  can be used for main focus and to unify a piece.

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Oct. 5: Graphic L.A.

• "A curious, less tense mind makes better choices and observations"
• if that's the case I must be pretty unobservant

      

• Steps:
• 1. Shape 
• 2. color
• 3. foreground
• 4. Details
• 5. Forming shape
• 6. cleaning edges
• 7. Last minute Adjustments

• Sources of Light
• Overcast Light: Colors seem brighter and purer than in direct sunlight. 
• Window Light: Light coming through windows is usually bluish.
• Direct Sunlight: Sun,blue sky, and reflected light. 
• Candlelight and Fire Light: Yellow-orange in color.
• Indoor electric Light: When painting with incandescent and fluorescent light consider, Relative Brightness, hardness or softness, and color cast.
• Streetlights and Night Conditions: I'm gonna try some night painting