What ad­vice do you have for block­ing colour in en­vi­ron­ment paint­ings?

ImagineFX: Sci-fi & Fantasy Art magazine - - Imaginenation Artist Q&a -

An­to­nia Bould, Eng­land

Donglu replies

The two most im­por­tant as­pects to con­sider when block­ing colours are the colour tem­per­a­ture and the light­ing con­di­tion. Colour tem­per­a­ture refers to the warm and cold colour pal­ettes, while out­door light­ing con­di­tions in­clude di­rect sun­light, over­cast and night time.

Di­rect sun­light is dom­i­nated by the sun it­self. The sky­light is a dif­fuse, soft light that comes from many di­rec­tions at once. Di­rect sun­light cre­ates hard-edged cast shadow on the grounds.

An over­cast set­ting is prob­a­bly the best weather con­di­tion for pho­tog­ra­phers and painters. It en­ables the artists to see the true colours of a scene with­out the dra­matic con­trast of light and shadow.

There are two types of light sources present dur­ing the night: moon­light and ar­ti­fi­cial light. In a nat­u­ral land­scape

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