Achieving color richness in painting – concepts & techniques of conventional & digital paintings
Color richness may include using a wider hue range or creating subtle variations with complex transitions. Painting techniques from the Renaissance to Post-Impressionism are compared and discussed together with digital painting techniques. The investigation also covered the interactive behaviors of...
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| Main Authors: | , , |
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| Other Authors: | |
| Format: | Conference or Workshop Item |
| Language: | English |
| Published: |
2024
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| Subjects: | |
| Online Access: | https://hdl.handle.net/10356/172800 https://aic2023.org/ |
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| Institution: | Nanyang Technological University |
| Language: | English |
| Summary: | Color richness may include using a wider hue range or creating subtle variations with complex transitions. Painting techniques from the Renaissance to Post-Impressionism are compared and discussed together with digital painting techniques. The investigation also covered the interactive behaviors of painted pigments with underpainting. The Munsell Color Space (MCS) was used to illustrate the color theory and pigment technology advancement which was connected to the breakthrough of painting practice especially from the period before and after Impressionism. The evolvement of painting techniques. The optical behaviors behind the approaches are elaborated based on the underpainting, pigment availability and color optical behaviors. Some misconceptions about color application concepts, like the concept of color harmony are also discussed. Digital painting techniques are compared based on their process and working logic. Case studies cover how the fundamental concepts of optical color behaviors are shared among conventional and digital painting. The Munsell Color System is also brought into discussion related to how it helps artists or art students explore colors or bridge clashing colors. Therefore, multiple hues can be applied while the image unity is maintained. Discussions of digital painting approaches cover its initial palettes, underpainting and pre-painted drafts with conventional painting media and its rationales. The design of digital brush characters is also discussed and compared with the conventional painting concept. It shows both the conceptual similarity and technical differences between the conventional and digital painting processes. The investigation provides opportunities and suggestions for improving digital and conventional painting to achieve color richness. |
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