Saturday, June 24, 2017

Inspiration: Piranesi

-By William O'Connor


At the end of the 18th century a revolution was in the air. Not only were the people of France and America beginning to strain against their tyrannical monarchs, this revolution had grown and evolved to consume the sciences, philosophy, religion and of course, the arts. New ideas of astronomy, biology and physics transformed the way that artists perceived the world around them. Discoveries in archeology unearthed long lost ruins and artifacts from the ancient world and with them, new and previously unimagined concepts that would lay the foundation of the Romantic Movement in art.

One of the most imaginative artists from this period is Giovanni Battista Piranesi (1720-1778)


Born, trained and working in Italy all his life Piranesi was surrounded and influenced by the unearthly ruins of ancient Rome as they were beginning to be studied academically for the first time.  As is evidenced by his etchings and engravings is the  lack of conservation that had been given to the Ruins.  For a thousand years Rome had been scavenged for stones, and large spaces like the Forum and the Colosseum had been used as sheep pastures.  Piranesi creates intricate landscapes documenting these monuments like a scientist, but also adds a sense of dramatic scale and regal power that seems to live in the ruins despite their neglect.



Late into his career Piranesi began his “Prison” series.  A fantastical journey into completely imagined fantasy dungeon-scapes.  These underworld environments of smoke and winding stairs, gates, and bridges, ropes and wheels always, for me, evoke a wonderful sense of drama and atmosphere.  The tiny figures could be monks or dwarves or orcs moving though the Mines of Moria or any epic Dungeon Crawl.  In the decades and centuries to come Piranesi’s magical labyrinths would inspire artists as diverse as Coleridge’s 1797 poem “Kubla Khan”, M.C. Escher, the Surrealists, and just about every fantasy game designer and artist.




Below is a wonderful lecture about Piranesi's work, particularly his Prison etchings, and both their cultural and artistic significance.



Next time you are designing a dungeon for an adventure, or writing a story, or concepting environments, look to the grandfather of fantasy concept world-building, Piranesi.

Enjoy,
WOC

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Friday, June 23, 2017

Deciphering Flesh Tones

-By Howard Lyon


Color is a fascinating and challenging part of painting.  It can be defined as hue, saturation and value. Today, I am going to focus a little more on saturation. Saturation being how intense or gray a color is.

Before I get going though, I think I need to add a disclaimer to this post. Painting from life is the best way to understand color. Also, photographs of paintings are by no means the same or close to observing a painting in person and only capture a small range of color and value discernible to the eye.


With that out of the way, I do think there are some important things we can learn about color using the computer and photography. Also, photographing paintings for later study can help to reinforce or add to observations made in person. I mention this along with the disclaimer because I am going to use a photograph of a Bouguereau painting to make some observations today.



I have long been fascinated by William Bouguereau’s paintings. There are other artists whose work I admire more for their artistry and subject, but I am hard pressed to think of another artist who achieved such a high level of technical skill. He could draw with great accuracy and had a wonderful eye for value and beauty, but for me it was ability to paint skin with very subtle shifts in hue and saturation that draws me in.

When Bouguereau was at his best, the flesh in his paintings looks like there is blood flowing just under the skin, vibrant and alive. You also see so much color. There is no ‘flesh color’ but many slight changes in hue and saturation that work together to create the impression of flesh.


In an effort to understand color a little better, I came up with a way of examining a photo of one of his paintings. I did this a few years ago and posted it on my site, but I did a little variant this time and I think it is more useful. Again, it is full of limitations, but maybe it will further cement knowledge you have or generate some new thoughts.



What the heck is going on here!? Let me explain. I am sampling colors from the face and hair. Each number and circle on the right show where I sampled a color. On the left, in column ‘C’ I filled the square with the sampled color and corresponding number. Column ‘B’ shows each of the colors, but with all of their values more or less equalized to a middle value. Column ‘A’ shows the colors with their saturation levels maxed out.

For me, column ‘A’ is the most revealing. When the colors are all shown at full saturation, the narrow range of hues used is much more obvious. Look at row 8. That color is from the white of her eye! It is really a very gray yellow, but it isn’t as clear until the color was pumped up to full saturation. It is also neat to see the progression from swatches 5 – 19, from the top of the forehead to the chin and up the neck and see the small shifts from orange to red and back to orange.


In the image above, I have arranged the same colors descending from red to yellow to show the spectrum of colors used in a clearer way. I kept the original numbers paired to the swatches. Again, we have the sampled color in column ‘C’, the colors almost equalized (there is a little variation) to a middle value in column ‘B’ and the full saturation in column ‘A’. Now, column ‘B’ stands out to me. Look at the top three rows, where the reds are nearly the exact same hue, but vary in saturation. They appear more blue or purple, warmer and cooler mostly due to their different saturation levels (they aren’t the exact same hue, but quite close). Look down the rest of column ‘B’. See how the colors vibrate and pulse in and out based on their saturation? More so than the fully saturated column ‘A’. The variety you can get by changing the saturation just a little is very exciting to me.



Color starts to do some interesting things as you drop out the saturation. You can achieve a sense of blue, green and purple by dropping the saturation of red, orange and yellow. It is as if grey starts to take on the properties of a compliment when placed next to a color of similar value. The gray gives your more saturated colors life that they don’t posses on their own. By working the saturation, you can create the appearance of blue veins under the skin, the purple flesh some complexions have around the eyes and cheeks and the cooler tones around the mouth and jaw.


If you are curious about giving this a try, next time you are painting flesh work in a neutral gray of similar value to the color you are working with and see what happens. See if you can create the appearance of color beyond those you squeezed out of the tube. That isn’t to say you should or shouldn’t use a full range of colors to paint flesh, but it is a worthwhile approach and exercise to try it if you haven’t.

Of course this won’t make you paint like Bouguereau, but hopefully it will either remind you or help you see how wonderful gray can be in adding life to your work.

*The photographs in this post are from the Art Renewal site and the Truth in the Bright Light of Day blog.