Sometimes I super saturate the colors in either Photoshop or the software for the camera I use before I open the file in Studio Artist. Then I play with the colors a lot in Studio Artist. Instead of using Lum Adjust to darken the colors I use Value/Sat Adjust, Bias, and then adjust the White Balance.
I also use layers a lot till I get what I like. I have noticed that I am able to get colors in Studio Artist that I have never seen anywhere else. I mute even the brightest colors a little so they feel more natural and less artificial than many digitally generated images.
Maxfield Parrish painted with thin layers of glaze as the Renaissance painters did and his colors were luminescent. I suspect that the layering process is somewhat similar in effect as also were the results of dye transfers that were used in the 70s for probably the best color prints ever. For me it is always an ongoing experiment. Using the the layers and color adjustments as if I was painting with the layers and adjustments instead of just with brush strokes of paint.
Paul - sweet colors. When I first looked at this I thought wow 50's/60's color printing and post cards and toy packaging. Has the feel of printing before offset and the pursuit of digital perfection. You had to mention dye transfers - that takes me back a bit! Nicely done.
Thanks, Richard. I was initially excited about this image more from the dynamic of how the the "players" interacted and reacted from so many different points of reference in relation to the performers in such an open space. Actually, I myself watched it from a considerable distance and almost did not even walk closer to see what was going on and take the shot. I had to rush the shot before it disappeared and the informal feeling and unusual cropping added to the mystique. Color is second nature to me. That you and John reacted similarly about it from a color point of view has me thinking now about things that were done using intuition. I am curious what John reacted to in the color. I will start a forum discussion to find out more.
Paul I think the surreal colors add interest and complement the composition. The flat, dense coverage and velvety feel of the colors is so reminiscent of the letterpress printing that I love so much. Very much an interpretation or marriage of the old and new. As to the intuition "thing" I believe it derives from an innate sense honed through years of experimentation and practice. i also have a theory that before we learn to recognize or interpret shapes, color is our primary source of visual information. Maybe hard-wired into us on a survival level? I know that when I did packaging design I always started with color massing and tied that to the shape of the package. Cool stuff. I surely like your direction and think it's pretty unique.
Very interesting. I need to go shortly and will write you more later. I too love the letterpress and have a collection of old letterpress printed art and humor German illustrated books( Munch was one of the illustrators) that I love looking at the colors.
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I also use layers a lot till I get what I like. I have noticed that I am able to get colors in Studio Artist that I have never seen anywhere else. I mute even the brightest colors a little so they feel more natural and less artificial than many digitally generated images.
Maxfield Parrish painted with thin layers of glaze as the Renaissance painters did and his colors were luminescent. I suspect that the layering process is somewhat similar in effect as also were the results of dye transfers that were used in the 70s for probably the best color prints ever. For me it is always an ongoing experiment. Using the the layers and color adjustments as if I was painting with the layers and adjustments instead of just with brush strokes of paint.
Very interesting. I need to go shortly and will write you more later. I too love the letterpress and have a collection of old letterpress printed art and humor German illustrated books( Munch was one of the illustrators) that I love looking at the colors.