Thread replies: 18
Thread images: 7
Thread images: 7
Anonymous
Color mixing and digital painting 2016-11-21 14:23:23 Post No. 2750844
[Report] Image search: [Google]
Color mixing and digital painting 2016-11-21 14:23:23 Post No. 2750844
[Report] Image search: [Google]
File: IMG_0664.jpg (214KB, 1224x792px) Image search:
[Google]
214KB, 1224x792px
How do I approximate effects such as colored light combining with local color, or two lights interacting with a surface, in the digital domain?
In the real world, this is argued to be a subjective process, although experts say that it's a combination of subjective, additive and additive-averaging that all depends on an impossibly large amount of factors from every field of physics.
Traditional painter Keene Wilson explains that "The color of the light plus the local color of the object equals the color you mix", and David Briggs of huevaluechroma.com says that "The colour stimulus resulting from the interaction of a coloured object with a coloured light source is [an] example of subtractive mixing".
David Briggs goes on to explain that blending digital layers in Multiply mode emulates the subtractive effect of real-world mixing, and with very bright and saturated colors this gives an adequate effect reminiscent of the color mixing we learnt about as kids. However, using less saturated, natural colors almost invariably gives you a saturated near-black result, although it gives you a different hue.
Should you use this new hue as guideline for the result of the color mixing and not pay attention to the value and saturation? Are there any other methods you know about?
>>
What's so bad about onscreen mixing? have you tried it? I do it all the time and I love it
>>
>>2750895
I've done on screen mixing for years and it's fine for the most part. The problem is that it tends to lead excessively to greys and muddy colors, limits your palette, and does not help solving situations where you want to emulate the complex behavior of light and shadow in the real world.
Everything we do in painting has to do with recording the effect of light on form. Completely ignoring what happens when light sources or the the sky interacts with things of different colors, the resulting color in shadow, or what happens when two light sources interact, all seems terribly limiting in realizing the full potential of your artwork.
>>
>>2750927
>The problem is that it tends to lead excessively to greys and muddy colors
So just like real painting
>>
>>2750929
Not when mixing primaries. Onscreen mixing can't mix those
>>
>>
>>2750985
Will you mind posting an example of that thing manga studio does?
>>
File: TempImage.jpg (62KB, 1036x776px) Image search:
[Google]
62KB, 1036x776px
>>2750985
Whenever you mix colors together, via opacity or otherwise, the software has to interpolate between them. There's no such thing as "half-visible" color, the software makes some math and displays another color.
RGB onscreen mixing is done by making a gradient between two colors by using lower opacity settings, then color picking the result and making the gradient. This results in a kind of arbitrary color mixing where you have to pick somewhere between the hues that show up.
As shown in the example, onscreen color mixing quickly goes into desaturated colors,even with intense primaries. The red-green transition is relatively passable, but the blue-yellow clearly displays this drastic loss in color energy.
What this means is that prolific onscreen mixing entails lots of weak greys, unless you personally add different colors to make up for the loss in energy, which tends to be the normal method for digital artists. The drawback here is that you need a lot of observational experience and ingrained color theory knowledge to even have a clue what colors should be added for a realistic situation.
Subtractive color mixing is the closest to the behavior of real paint and real life light and shadow phenomena, such as colored light hitting an object of a certain color. From what I've gathered so far, this is mimicked digitally by using the Multiply blend mode, so one normal layer and a layer with Multiply on top. High energy, unnaturally saturated or dark colors will go dark quickly but lighter, less saturated options will display lots of hue variations that don't show up in onscreen mixing, and are at least somewhat realistic and reliable (materials and physics have a huge effect here unfortunately). You can also simply color pick the new hue added and experiment with the saturation and value to have a new hue in your that follows the scheme of real world color mixing.
>>
>>2751107
Additive mixing is used for light, such as screens or spotlights, and is mimicked digitally by using the Dodge or Screen blend modes. Linear dodge (called Add in some programs) is more accurate but will quickly clip (head into pure white), while Screen will take it down a notch. It's good for seeing what happens when lights of different colors combine.
Everybody hates a painting with obvious color dodging and other filtering, and the ideal situation is that these modes should be used simply for finding new hues, that you then use normally in your painting.
>>
File: 321425435353.jpg (19KB, 452x444px) Image search:
[Google]
19KB, 452x444px
I'm not pro but I think you need to know only one thing about "digital colors".
You seen how most pros/asian pros paint using PS hard brush with opacity/density and colorpick? You lost saturation and value everytime you coloropick and mix.That's why your paintings sucks in the end. Just keep in mind
>>
File: Capture.png (34KB, 403x373px) Image search:
[Google]
34KB, 403x373px
>>2751107
>>2751112
oh alright, thank you for the very informative post.
>>2751071
this is basically what it does, it just adds your main color on top, doesn't "blend" them, it slightly does on the edges due to reduced opacity I guess, but that's not the real color you would get, blue and yellow gives me the same washed out lime green in >>2751107
>>
If you started with your colours more saturated than you want them and then let them become less saturated through blending, would that be a good idea?
>>
File: IMG_0677.jpg (61KB, 475x254px) Image search:
[Google]
61KB, 475x254px
>>2752251
That is the tell-tale sign of RGB onscreen mixing. If you were to continuously color pick the edges, using a lower opacity, painting over and repeating the process, you'd end up with greys, desaturated browns etc. From what I've gathered, it is a kind of additive mixing that averages into grey rather than pushing the value into white. It retains the value of your first choices. Now, this is what's important to pay attention to: Additive mixing gives white when you combine enough energy, such as a primary with a secondary, and these are what gives you grey colors in onscreen mixing.
Subtractive mixing gives you black from the same effect, but it's what happens before you reach that amount of energy that fascinates me, since it mimics real life color blending and provides more interesting options when deciding what colors to add to a situation.
>>2752308
The classic approach only relates to values, which is to start with midtones and gradually work your way up to the brightest and darkest values. I'd say it's a good idea to start with a greater variety of colors and chromas than you actually intend, precisely for the reason you mentioned, but also because it's good to approach painting loosely and open yourself up to more options.
>>
>>2752251
You want blend like in PS?
Open brush settings > Stroke
Check "Mix brush tips with darken". It's turns your brush into PS one
>>
>>2752342
or you could just use LAB
>>
>>2750844
check:
www.
ctrlpaint.
com/dp101-3/
>>
File: colorpickger.png (169KB, 550x374px) Image search:
[Google]
169KB, 550x374px
what's the logic behind this? I had this brown that I needed a good shadow for and instead of just going towards black, I looked at this and saw that purple was next to it. Picked purple, went a bit darker and it looked gorgeous. Is this some triad shit?
>>
File: IMG_0713.png (110KB, 654x636px) Image search:
[Google]
110KB, 654x636px
>>2755333
Read a thread before you post another dumb link next time, we've covered the process of onscreen mixing and it's limitations
>>2756529
I don't know the exact color space you're using here but purple is close to brown in any rgb color space. Generally speaking, analogous colors blend well, plus that hue variations are more interesting than mere value changes and it tends to happen in real life. Triads require three colors evenly spaced on a color wheel
Thread posts: 18
Thread images: 7
Thread images: 7