Sunday, 18 October 2015

Despina: Colour Comps

Reusing components by tracing from Exterior Influence Map as well as those from previous thumbnail studies - able to capture shape and movements such as Favela composition, flapping sails, cruise line and pipe. Lassoing traced shape on top to fill in solid texture to be duplicated onto any empty canvas:

In preparation for colour comps, figuring out the most major colours needed for the three studies so produced colour references by eye-dropping inside kept picture collections - Phil's suggestions and both Influence Maps. Discovering idea of four major colours being off-shades of red, yellow and blue, with greyscale as often as possible - quite difficult to reduce to just two colours to create believable dusty factory-harbour environment:

Also getting colour inspiration from marine flags [not directly adding flags but converting into off-shades of common colours in those flags] and print screen of Google Image Search results - "Seaport" - understanding two dominant colours being, to an extent, blue and grey:
Exterior High Angle:
Using eye-drop tool to create convincing steel/wooden texture environment - e.g., yellow for cranes and wooden crates, maroon red for chimes and cranes, beige for entering from desert to harbour environment [crucial component without having to feature camel and passenger]:
When exploring blending tools in PS, eventually became only half-appropriate for environment I want to make, many options leading to translucence, off-colour, high brightness, etc., but was able to experiment such in top-left corner - already had made convincing choice for colours to create depth effect for concept art.
Explored other options available at bottom-right corner - gradient map really helped me create quick ground fog effect, plus using saturation and brightness to make environment not too colourful to remind myself of believable factory environment:
Composition and one-point perspective guidelines - rule of thirds and vanishing point roughly being short building at further centre:
Exterior Low Angle - ideal busy and exciting fish-market epicentre, therefore choosing bright primary colours as if fish buildings could have been converted from empty colourful steel containers. Colouring ideal boardwalk ground, plus removing distracting marine flags as buildings themselves can adapt these colours. Also toning down saturation and brightness, as well as gradient layer for fog effect, for believable realistic fish-market environment:

Composition and one-point perspective guidelines - vanishing point being fish stall at furthest centre, with layering factory buildings and cranes piling up behind short building:

Interior Angle - slightly changing atmosphere of inside cargo warehouse - experimenting with concentrating richest colours in one particular area whilst darker and muddier colours both behind and in foreground. Experimenting with toning down brightness and saturation here and creating perhaps convincing warehouse environment when nobody is working there, as if intruders can sneak in and explore such dark place [including entrance pipe and pathway designed for container drivers and inspectors], whilst improving brightness of porthole window at far-right to suggest daytime:
Composition guidelines - concentrating richest colours in centre of composition, perhaps to suggest what can be lively and what in real life isn't so lively, as well as curving lines to suggest each layer of cargo piling in front of each other, although need to figure out as soon as possible appropriate vanishing point for convincing one-point perspective:

1 comment:

  1. Hi Robin.

    If you're having trouble separating out the colours, maybe try arranging the various colors into three or four distinct palettes. Though it appears you have stumbled into the colour picker's key limitation - it can't do aggregate colours nor can it account for colour perception.

    Remember what Jordan taught about painting by eye: Colours can appear to change shades when placed next to a different colour and one of the ways to get a good balance of colour is to take this into account; using an altered shade to get the colour you want.

    I agree with you on the interior shot. You need a good horizon as the angles of your crates are all over the shot and its very difficult to tell if I'm looking above or below. Ideally you'll want to create the vanishing point first, so you know where your horizon is because it can play a big part in determining the shot's apparent height and angle.