John Rauch

Hey guys, I'm back with lesson 2. I really hope you mastered lesson one because it will really help you grasp this one. First off, I need to thank Bob Rivard for providing us with the line drawing for this lesson. Thanks Bob!

This lesson is all about learning to break down complex shapes into simpler shapes we can more easily grasp to produce more accurate lighting. So, here's the art we'll be working with. Please download the TIFF to work with and feel free to use whatever software or medium you prefer.

http://retroaero.com/digitalwebbing/cap_heads.TIF








STEP 1:

OK, now to get started. Step one is to visualize the more complex shape of a human head in more simplified planes so we can more easily understand which parts face which direction. We're trying to break it down into mostly flat planes. I made a little cube above each head and color coordinated the basic planes by which direction they face. This is not an exact science. If you try to break down every 15% difference in angle, you won't make this any easier on yourself at all. My suggestion is to base your planes on a cube any time you can.

You can see I've also added a magenta plane not represented on the cube colors. I used this knowing my right angled visualization would not work in every area and the magenta represents a smooth curved area between right angled planes. Basically, this is the area where we just blend and bridge the gaps between the other planes.



STEP 2:

OK, now that I can visualize which planes face which directions, I decide on a light source and do a lighting study. The planes facing towards the light source will be the brightest. The ones facing away will be in shadow. Like the first step, in time you'll be able to visualize this in your head without taking the time to put it down on the canvas. For now, I suggest doing a couple this way to grasp the concept and be able to decide on a light source that works for you. Don't spend a lot of time on this step. Just pick a light source and roughly try it out. Decide which light source matches the dynamics of the scene and go with it. If you get started and find that your original idea of where the planes meet isn't accurate, just fix it as you go. With some art, the light source will already be decided for you and you'll need to look for clues like line weight or spotted blacks to know where it's coming from.



STEP 3:

This is where you actually get to start coloring. Pick some swatches, paying mind to the temperature of your light source and start applying your colors according to the value study you did in step two. Blend the areas between planes and refine the more complex shapes based on which direction they face. If the more complex shapes give you trouble, divide them into planes to more easily understand the way light would hit them.



STEP 4:

Now we're going to really sell the image to the viewer. This is where we apply color variation for areas of the face that aren't all one smooth color. Apply some red to the cheeks, nose, lips, and a little bit on the lower eye lids. Basically, anywhere the skin is thin or would do regular stretching, it gets slightly more red. If we were doing a full body shot, I'd also apply some red to knees, elbows, knuckles, and a little to the shoulders as well. If this step gives you trouble, check a photo for reference. Some people and ethnicities have more variation than others. You can see I've also applied some grey for stubble. Even cleanly shaved men generally have a slight color change where their beard would come in. Don't overdo it. Just enough to be believable.

This is also the stage where I pay attention to the differences in reflectivity. Noses, ears, and lips are typically shinier than other areas of the face, so I've added a little extra shine and contrast to them to sell this point. Don't create new shapes, just emphasize the ones you've already established. I've also added little specular highlights to the eyes to make them look wet and more realistic.

Lastly, I added a slight rim light because objects almost always reflect their surroundings to some degree. Again, this is just a small thing that adds another degree of believability.

OK, that's it! Now you should know just about everything you need to know about coloring a face! Post yours so we can see how you did!

Justice41

Now this is what i was hoping for. I'm collecting all these lessons as a pdf.

Ray Dillon

You color good.

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3'LL

I will be doing this. I don't really know if I can learn much from what Cary is doing, but this stuff is gold to me. Great exercise idea BTW. You laid it out in such a simple way.

jedipencil

I get an error message when I click the link.....

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John Rauch

I guess my host is switching servers. It should be back up soon. Sorry guys.

John Rauch

Not sure when my site will be running right again, so I'm attaching the images to the forum. Sorry for the inconvenience, guys.

Sequential76

Hey John, Here's mine.



It lacks the finese that you have but I'm pretty happy with it. I like how smooth and well blended your work is. I would do the planes on my own and then fix it up looking to your version.
Thanks!

John Rauch

Really good job!

I was getting a little down thinking no one was even going to try this after 12 people tried the chair exercise which I only intended as a primer to this one.

Sequential76

I was surprised to see how well a little red and gray does to the end result. I never did that good stuff.

robbdaman

I'm betting people will do this one slower, doing the planes of the face is a tough exercise.

John Rauch

I didn't for many years, but after studying a little real life, it's phenomenal how much such a little thing makes an image so much more convincing.

John Rauch

That's a good point. I really hope this is something aspiring artists & colorists grasp early if for no other reason than I get tired of giving it as a critique. Also, just because I used a face doesn't mean this is only applicable to faces. This will help in EVERYTHING you color if you can visualize the different planes and how much light they reflect.

Sequential76

Pinning down the planes was tough on the face. This was a tough excercise for me. The planes of the chair where clear.

Around the mouth area I saw there were some details that went beyond what the artist drew and had to be represented by the colorist. I'm facinated how a colorist can effect the look of width and narrowness of a face using the planes, WITHIN the lines that artist puts down.