Picking up last weeks session from the turn around and model sheets we would be adding colour to them using photoshop and being introduced to the idea of colour in terms of colouring our characters. This session could be beneficial to me as its focused around my particular skills as a digital illustrator, and could give me some insight and skills for my own work for either my heritage work for AWAH or for my own personal development. This session would give us an inside look to the story behind the colouring of characters and explore different colours for the characters, and I discovered that Sully from Disney's Monsters Inc/University wasn't always blue with pink spots but was originally going to be yellow if the artists hadn't messed with the hue of the colours. This could be done by duplicating the piece in Photoshop and experiment with the different types of colours in the colour chart.
Within a story of animation colours can make or break a story if they do or don't work out in the way that they do. In some cases such as the story boards or art from films like Finding Dory as Annabeth pointed out some medias like pastel or oil pastels could be used as alternatives to storyboard or background art.We were even shown why characters like the Simpsons or the Minions were coloured in yellow and this was surprisingly because it makes them stand out against the coloured backgrounds like the blue sky as its the opposite colour on the colour wheel, and it doesn't register with people who are colourblind which is good news for them. Annabeth then showed something that I was familiar with and this was the colour wheel which was discovered by the discoverer of gravity Sir Issac Newton in the year 1704 when he was experimenting with the light of prisms which created a rainbow discovering multiple colours in the light. Followed by Johann Wolfgane Von Goethe who discovered the theory of colour in the year 1810 which soon developed to be the colour wheel.
One element that Annabeth mentioned was how the secondary, tertiary and primary colours were assassinated with super heroes and villains such as red, yellow and blue were Superman's colours and these were primary colours whilst secondary colours like green were for villains like the Riddler or Lex Luthor. However in some instances or cartoons such as Voltron this may not be the case as the pilots colours were Black, Red, Blue, Yellow, and Green which was a mix of secondary or primary colours.
Some colours even describe different personalities to the characters much like the characters from the Pixar film Inside Out whose characters showed different personalities Joy, Sadness, Anger, Disgust and Fear. Some colours had a similar principle here are some examples.
Red: represents many things both positive and negative, such as love, energy, power, strength, passion, heat, anger, danger and warning.
Blue: This colour represents some of the modern feelings like tranquility, love, loyalty, security, trust, intelligence, coldness, fear, and masculinity.
Black: The colour can sometimes focus on a negative feel but at the same time adds more than that such as, Protection, dramatics, classy, ferocity, death, evil, mystery.
Miraculously we were shown some other versions of the colour wheel or even colours in cartoons such as a colour wheel of Disney characters and their personalities and more intriguingly the significance of hair colour in Anime how it could signify certain characters such as black and violet showing how someone could be a sinister dark sorceress or how blonde could show the leading role in an anime, and whilst I could see that would apply to anime like Sailor Moon Crystal and Disney's Tangled I was slightly skeptical about other animations.
When colouring in Photoshop we had a choice of converting the document to either RGB and CYMK which was a format for books or clients.
Annabeth soon drew my attention to an element within our Adobe accounts that could be of use to look at and this was called Adobe colour which could be used to select new colour palettes for Photoshop or illustrator which peaked my interest as this would possibly save the trouble of using the colour picker to select new colours to add to the palette. There were three different settings in the colour chart and these were of different colours Complementary, Triad and Analogous. The Triad was initially the balance of colours within the palettes and its a very useful tool for us and decided to take it into consideration.
Annabeth showed us a system within the colours which was devised by Albert H. Munsell who pioneered the Munsell colour system of 1930's which showed us the system of the following settings in the adobe colour system.
Hue: Change as you move around the centre.
Value: Changes from top to bottom
Chroma: Changes as you move the centre outward in the circle.
We then set to work on our task for this week to colour our turnaround model sheets from last week some had already gotten a head start and so we had to scan in our work then colour in photoshop. I started by booking out a Wacom tablet and pen for the computer as I work better in digital illustrations when I have the feel of a pencil in my hand when doing my work so using SISO I booked one out and then using the printer in the library I scanned my sheets in my journal and transferred them to my memory stick. However immediately there was a problem, when I plugged in the tablet into the mac it wouldn't respond to moving the pen, and wondered if there was something wrong with the tablet or the cable so I tried plugging it into different USB ports to make it respond, but still nothing.
I then narrowed the problem down to one thing in the system preferences and that was the driver for the device wasn't installed on the computer meaning I couldn't use it and Annabeth agreed with my observation. Meaning that I would have to do this the old fashioned way and use the mouse, thankfully before being introduced to the Wacom tablet I was learning to colour without it in both college and personal time, which meant it was time to get reacquainted with an old friend. So to begin I altered the levels on the scan to make the black lines come out more like I would on a traditional inked illustration piece for my own work when I was learning to do digital comics in Manga studio (now Clip Studio Paint). Since I couldn't risk using the mouse to colour the piece individually I decided to use the paint bucket to colour the whole sheet then using the magic wand to select the surrounding areas and delete them. Like I would a normal painting process in Photoshop, and if any colour was taken out of the illustration I would simply paint the colour in using the paint brush tool. The base colour was a light shade of grey/ black then I began applying details to the character such as shading, and adding the glow of the eyes.
These were done on separate layers as I didn't want to compromise anything in the composition and even using special brush settings to create fabric like texture within the shadowy cloaked individual and for the highlights I used the soft brush tool on the colour dodge layer to create soft highlights within the cloak. For elements such as the dark smoke from the character himself I used a special brush tool that created textured brush strokes then using the smudge tool to move the brush texture around to make it look like gathering smoke.
I wanted to make the character look more sinister so I decided to incorporate filters from the filter gallery one of particular interest was the poster edge filter which seemed to create a comic book like shading within the characters composition. One key element within this character was the glowing white eyes to show his sinister side, and though his face is covered by a hood his expressions come from his eyes much like Gromit. The glow would show how his evil oozes out of his eyes and how his shadowed body moves within the shadows whilst two prying eyes watch us in the dark much like a demon in the night.
I tried using the Hue, Saturation and Luminosity to alter the colour composition so that the black shadowing would be shown better on the illustration learning from past experience and give more of a sinister appearance. The dark crystal heart within the shadowed being was illuminated by the screen layer which was a version of glow dodge in Photoshop, the glow from this replicated this nicely. By sessions end I looked back on my work and wondered if I could alter the colour in some way specifically the eyes as whilst white looks good I felt that perhaps the colour red could show more of an evil side in the demon character and may consider changing the colour. This though was the point of the exercise to experiment with the colours of our characters much like concept artists from Disney when they were creating their characters be it Monsters Inc, Frozen or even The Incredibles. What I could take away from this experience is that the Wacom driver doesn't seem to work on the mac computer and I may consider bringing in my own mac and Wacom tablet when we have another session like this to get a more refined result. Or perhaps even do the turn around again using Clip Studio Paint to get a neater result in the presentation using techniques that I've recently learned from the Art of Loish.
The main lesson learned was there was the potential tools and methods at our disposal for this concept art approach and even how the odd character can show the significance in a colour on the cart. We then had to show the process of our designs in a presentation Pecha Kucha which was a presentation with images and some text. By next week these needed to be finished and we may revisit this in Wednesdays lesson coming up this week.
Within a story of animation colours can make or break a story if they do or don't work out in the way that they do. In some cases such as the story boards or art from films like Finding Dory as Annabeth pointed out some medias like pastel or oil pastels could be used as alternatives to storyboard or background art.We were even shown why characters like the Simpsons or the Minions were coloured in yellow and this was surprisingly because it makes them stand out against the coloured backgrounds like the blue sky as its the opposite colour on the colour wheel, and it doesn't register with people who are colourblind which is good news for them. Annabeth then showed something that I was familiar with and this was the colour wheel which was discovered by the discoverer of gravity Sir Issac Newton in the year 1704 when he was experimenting with the light of prisms which created a rainbow discovering multiple colours in the light. Followed by Johann Wolfgane Von Goethe who discovered the theory of colour in the year 1810 which soon developed to be the colour wheel.
One element that Annabeth mentioned was how the secondary, tertiary and primary colours were assassinated with super heroes and villains such as red, yellow and blue were Superman's colours and these were primary colours whilst secondary colours like green were for villains like the Riddler or Lex Luthor. However in some instances or cartoons such as Voltron this may not be the case as the pilots colours were Black, Red, Blue, Yellow, and Green which was a mix of secondary or primary colours.
Some colours even describe different personalities to the characters much like the characters from the Pixar film Inside Out whose characters showed different personalities Joy, Sadness, Anger, Disgust and Fear. Some colours had a similar principle here are some examples.
Red: represents many things both positive and negative, such as love, energy, power, strength, passion, heat, anger, danger and warning.
Blue: This colour represents some of the modern feelings like tranquility, love, loyalty, security, trust, intelligence, coldness, fear, and masculinity.
Black: The colour can sometimes focus on a negative feel but at the same time adds more than that such as, Protection, dramatics, classy, ferocity, death, evil, mystery.
Miraculously we were shown some other versions of the colour wheel or even colours in cartoons such as a colour wheel of Disney characters and their personalities and more intriguingly the significance of hair colour in Anime how it could signify certain characters such as black and violet showing how someone could be a sinister dark sorceress or how blonde could show the leading role in an anime, and whilst I could see that would apply to anime like Sailor Moon Crystal and Disney's Tangled I was slightly skeptical about other animations.
When colouring in Photoshop we had a choice of converting the document to either RGB and CYMK which was a format for books or clients.
Annabeth soon drew my attention to an element within our Adobe accounts that could be of use to look at and this was called Adobe colour which could be used to select new colour palettes for Photoshop or illustrator which peaked my interest as this would possibly save the trouble of using the colour picker to select new colours to add to the palette. There were three different settings in the colour chart and these were of different colours Complementary, Triad and Analogous. The Triad was initially the balance of colours within the palettes and its a very useful tool for us and decided to take it into consideration.
Annabeth showed us a system within the colours which was devised by Albert H. Munsell who pioneered the Munsell colour system of 1930's which showed us the system of the following settings in the adobe colour system.
Hue: Change as you move around the centre.
Value: Changes from top to bottom
Chroma: Changes as you move the centre outward in the circle.
We then set to work on our task for this week to colour our turnaround model sheets from last week some had already gotten a head start and so we had to scan in our work then colour in photoshop. I started by booking out a Wacom tablet and pen for the computer as I work better in digital illustrations when I have the feel of a pencil in my hand when doing my work so using SISO I booked one out and then using the printer in the library I scanned my sheets in my journal and transferred them to my memory stick. However immediately there was a problem, when I plugged in the tablet into the mac it wouldn't respond to moving the pen, and wondered if there was something wrong with the tablet or the cable so I tried plugging it into different USB ports to make it respond, but still nothing.
These were done on separate layers as I didn't want to compromise anything in the composition and even using special brush settings to create fabric like texture within the shadowy cloaked individual and for the highlights I used the soft brush tool on the colour dodge layer to create soft highlights within the cloak. For elements such as the dark smoke from the character himself I used a special brush tool that created textured brush strokes then using the smudge tool to move the brush texture around to make it look like gathering smoke.
I wanted to make the character look more sinister so I decided to incorporate filters from the filter gallery one of particular interest was the poster edge filter which seemed to create a comic book like shading within the characters composition. One key element within this character was the glowing white eyes to show his sinister side, and though his face is covered by a hood his expressions come from his eyes much like Gromit. The glow would show how his evil oozes out of his eyes and how his shadowed body moves within the shadows whilst two prying eyes watch us in the dark much like a demon in the night.
I tried using the Hue, Saturation and Luminosity to alter the colour composition so that the black shadowing would be shown better on the illustration learning from past experience and give more of a sinister appearance. The dark crystal heart within the shadowed being was illuminated by the screen layer which was a version of glow dodge in Photoshop, the glow from this replicated this nicely. By sessions end I looked back on my work and wondered if I could alter the colour in some way specifically the eyes as whilst white looks good I felt that perhaps the colour red could show more of an evil side in the demon character and may consider changing the colour. This though was the point of the exercise to experiment with the colours of our characters much like concept artists from Disney when they were creating their characters be it Monsters Inc, Frozen or even The Incredibles. What I could take away from this experience is that the Wacom driver doesn't seem to work on the mac computer and I may consider bringing in my own mac and Wacom tablet when we have another session like this to get a more refined result. Or perhaps even do the turn around again using Clip Studio Paint to get a neater result in the presentation using techniques that I've recently learned from the Art of Loish.
The main lesson learned was there was the potential tools and methods at our disposal for this concept art approach and even how the odd character can show the significance in a colour on the cart. We then had to show the process of our designs in a presentation Pecha Kucha which was a presentation with images and some text. By next week these needed to be finished and we may revisit this in Wednesdays lesson coming up this week.
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