I find it hard to pin down the right mood that I want with my fi­nal im­age. Any tips?

ImagineFX: Sci-fi & Fantasy Art magazine - - Your Questions Answered -

Nial Ken­drick, Eng­land

Paul Tysall replies

There’s so much to the process of paint­ing that, by the time we com­plete the im­age, some­times we ap­pear to be miles away from the orig­i­nal im­age in our heads. This is why mak­ing a colour comp be­fore the ren­der­ing stages will help you stay on track.

More of­ten than not, when we’re talk­ing about the mood as­so­ci­ated with a paint­ing we’re fo­cus­ing on the sub­ject, but it’s the light­ing and colour that en­hances our emo­tional state. Ob­vi­ously, you should be aware of the colours you’re ap­ply­ing through­out the paint­ing process, how they re­act with each other com­bined with their sub­se­quent colour the­ory prop­er­ties, but some­times this can be­come lost as we ren­der the fi­nal piece.

The no­tion of colour the­ory stems from di­vid­ing the colour wheel into two halves: warm and cool colours. Where the di­vid­ing line starts and ends is de­bat­able. The emo­tional as­pects of colour are purely as­so­cia­tive: from the warm colours of the sun or a camp­fire feel­ing wel­com­ing, to the fresh greens-yel­lows of na­ture con­vey­ing seren­ity, all the way round to the blues that re­mind us of the night sky or cold weather con­di­tions. Th­ese as­so­ci­a­tions ap­pear to be fairly univer­sal, another rea­son how visual art can tran­scend lan­guage.

So if the colour pal­ette has strayed off course, how can we get it back on track? There’s one pow­er­ful Pho­to­shop colour cor­rec­tion tool among the Adjustment Lay­ers op­tions: Color Bal­ance.

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