All language subtitles for 06. Understanding Core Light Theory

Hello.

This time, in the last drawing learned

Let's learn the core theory of light in the theory of light and color needed for character design.

Like River said at the end of last time, I personally had the most fun learning about light and color in learning to draw and

The more ways to learn light and color, the more body color there will be, and from someday it will be organized into a book.

I studied it myself.

And light and color are not only the parts that I would definitely want to learn if I like to draw

It's not just me talking about the theory, but making it easy for everyone watching the lecture to understand.

In my lecture, these interesting rays

and color theory around the key parts that you can apply directly to character illustrations.

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So, it may be a bit of a theory-based course, but I hope you'll have fun watching it.

First of all, let's talk about the use and usefulness of learning about light before we get into the formal learning.

Without light, the world would be invisible. Of course.

Because observation is the basis of the picture, light is an undesirable concept in painting.

Light produces the colors of the world, and where light does not touch is shadow.

Through color and shadows, we can express the three-dimensionality with lines

Whether it is a slow rotation or a sharp fold, it can be expressed with the same structure.

So, for a realistic depiction, it needs to be accompanied by practice to express the three-dimensionality of the target by proceeding to whip shading in the drawing.

In addition, it is also necessary to base the representation on the light principle when you want to reproduce the target realistically through color.

The color pulled from these light principles can be a factor that makes the painting unnatural as a whole.

The various vipires not only have a realistic and three-dimensional feel to the character, but also create atmosphere and story, making them a very useful expressive element.

In this lecture, participants learn all the basic light neurons around in-depth light

The goal is to allow everyone to check their own drawings.

If you follow the lecture well, you will not use your senses to show the light, but you will be able to express the light that I want to show.

The knowledge gained by thinking and researching for a long time compared to traveling easily

Because painting activities are good, I hope to find a use for theoretical studies like light.

I think it would be very confusing for someone who is learning where to start learning about light learning for the first time.

Like all learning to draw, light starts with curiosity and observation.

In this lecture, we will first learn the objective principles and applications of color produced by light.

Therefore, it is important to first look at the colors that appear in various light conditions, right?

After that, we need to learn the terminology and the basic principles to express these lights, and then apply them to painting.

When you are able to apply some basic principles skillfully, you will change the light conditions that

to apply it.

Let's start the description with the terms and content that must be understood in the role illustration.

What is light?

It's hard to define.

Simply put, light is energy with a wavelength.

Where light is visible in the perceptible range through the structure of human vision.

It's a little bit easier to say.

There are three things that are necessary in order to see the world.

The first one is the object, if only the ordinary object is alone, it is invisible.

In order to be able to see the object, it must have its own light source that emits light.

The light from this light source touches the object, the light is absorbed from the object and reflected, and then reaches our eyes.

Then, starting from this, the object becomes visible.

So, if you don't have eyes to see the object, light is useless.

The visual cells in the eye respond to the intensity and wavelength of light and recognize it as color.

At this point, when light illuminates an object, the intensity of the light is called illuminance, and the color that determines the light is the wavelength.

The place where the light touches the object and becomes bright is called the nameplate hair evidence surface, and the place where the light does not touch and is dark is called the shadow.

At this point, the light is reflected from the object and reaches the eye, and the darkness and brightness of this light is otherwise known as the glow.

When light reaches the eye, the first of countless cells called the liver state is the brightness of the light.

Light and darkness react first, and then the red-green-blue abstractors react separately to distinguish the color of light according to its wavelength.

When this information reaches the human brain, the brain recognizes this energy as color.

Light is an objective concept that exists physically and can be quantified, but young birds are like humans with a shallow sense of taste that

is a subjective perception of sensation.

Some people think there is a color of the object or of the light itself; in fact, it is somewhat difficult to say that the light is young before it reaches the eye.

So, let's learn the light that produces the color first, and then move on to the learning of expressing it in terms of color later.

First, let's learn about the wavelength of the light that determines color.

The wavelength determines the color of light, and if the sky wants to properly understand light such as Parakou quartz red, it is best to look at it in terms of wavelength.

The division of light according to the interval of wavelengths becomes such that the spectrum of which the eye can perceive the category is called visible light.

Shorter than this visible wavelength are ultraviolet X-rays.

Something with a longer wavelength, such as the wavelength emitted by an infrared remote control or radio waves.

The shorter the wavelength, the greater the energy; the longer the wavelength, the weaker the energy and the farther it reaches.

This part can be learned a little more later on for background or serious performance than for character illustration.

So, if you draw it in a chart, then the red wavelength of the glare will be slightly like this in the chart.

Conversely, light with strong blue wavelengths

The blue wavelengths are very strong and

The result is red and blue.

So the so-called red light is the higher value of the wavelength corresponding to the red color, the

The so-called blue light, on the contrary, if you consider the blue side of the wavelength is a very strong wavelength on it.

But light is distinct energy, so the more each wavelength adds up, the more energy it has.

This time performs a pseudo-calculation mix.

For simplicity's sake, here it should be brushed up to normal and replaced with media touch that

The red color corresponding to the three primary colors of light

and green

Then stack the blues in order and you can confirm the false count mix.

The so-called additive mix is created as the energy increases and, on the contrary, the more the color is added, the

subtractive mixing occurs, and I will mention it again later on the color gamut.

So when light with red wavelengths and blue wavelengths are added together, these light end up looking pink.

Adding all wavelength values becomes the bottom of the new world if it is in a state that is unbiased to a specific wavelength.

Use the chart to confirm that the specific wavelength values are not so high, and that the specific wavelength values are not so high that

If the energy is uniform, it becomes the light of the new world.

So the so-called white color.

Not the wavelengths that have white, but the light emitted when each of the fancy wavelengths are added together and used.

At this point, let's see what happens if this light touches an object.

The light is absorbed, reflected or transmitted at the moment of contact with the object.

The color of this object is revealed by the absorption and reflection of light.

Each object has a specific wavelength to absorb.

Absorbs energy at specific wavelengths, not reflected wavelengths.

Where the reflected wavelengths reach the eye and become the color of the object.

For example, when there is a red apple, when the white light, i.e., the red, green, and blue wavelengths all reach equal light

The apple will absorb the green and blue wavelengths, and the red wavelengths will be reflected so that our eyes appear red.

The banana, illuminated by the same light, absorbs only the blue plate and reflects the red and green wavelengths.

This appears to be yellow light.

White flowers are objects that reflect wavelengths of all colors

Three black and dark objects, on the contrary, have no wavelengths that can absorb wavelengths of all colors, so they can be called black objects.

Do you understand? Simple, but it is an important principle in determining the color of an object.

At this point, it is not the light of the object, but a specific wavelength, for example, a red light with only red wavelengths

Regardless of the object, the reflected wavelength is only red, so even white will be red.

For example, neon lights or something like that can be confirmed.

The wavelength reflected by the object, which is the color of the object, is determined by the intensity of the light.

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So, if the object does not absorb the wavelengths reflected by the light, it will be black.

For example, when a red apple is illuminated with blue-green light of blue and green wavelengths

The apple has no red wavelengths to absorb and reflect all wavelengths, so it looks black.

Although not as common as the example, red objects look very dark in blue-green light.

Just like above, pure blue-green light

It is mathematically possible and the general wavelength is a slightly different color wavelength.

So generally speaking, it's not completely black, but rather darker.

You may have some doubts.

Then if the yellow object receives blue light, it will become black then, theoretically.

But only specific wavelengths of light do not exist in nature, so it can only be seen mathematically.

And, you'll wonder if you should back these additive blends of colors, although it's not necessary to fill them all in.

It is basically recommended to know the seven colors.

The colors reflected by the object are metallic and can be calculated as multiple colors, but the simple colors in Photoshop

There is a way to confirm the cue with the wheel, I will explain the concept of illumination later and then take a closer look at it.

Illumination refers to the intensity of light.

If the illumination is insufficient, then this color, which initially reflects less light from the object, appears gray and indistinct.

Therefore, the brightness and saturation values of the color should be relatively low and can usually be checked in the shadows.

Conversely, if it has any color other than the black of this shade, it will glow from somewhere.

The presence of a circle.

Moreover, in the standard state with sufficient illumination, the bright side and the shadow that would appear in the color of the object are distinguished.

If the illumination is appropriate, then the inherent color of the object will reflect brightly and clearly, so the higher the illumination, the higher the brightness and regime of the color.

But some illumination will over-illuminate to more than a moderate amount.

In this case, the object reflects the color with a brightness stronger than the color it can fully reflect.

Usually, you can observe the object in its "Haylightspaq".

Depending on the texture and material of the object's surface, the reflectance will vary.

The illumination is relatively simple, so it should not be difficult.

But I had a particular curiosity when I was studying, so I brought it.

When illuminated too much, the saturation is 100% in digital.

So here X does not rise above 100%, 100% is the maximum, how do brighter and more vibrant colors than this behave?

This is a common lighting condition like a sunny afternoon, when objects like red

How to color can be difficult.

At this point, it's best to look for the most relevant illumination for a business card race, etc., than for a roster of objects, and paint that area with the highest saturation.

For example, if the illumination is and more, then the roster is not purely reflective of red, as seen now

Let the blue and green values reflect, and this saturation will be lower and it will look kind of pink.

So, if you paint the shadows a darker shade of red

This part

When you put the interest directly out, it simply becomes a pink ball because it is a red show.

If you look at this color flag, you'll see that the saturation doesn't drop as high.

Between this is the light and dark border compared to the bright and shadows.

So the part receiving light is too much light, the shadow light is not enough, and the direction of illumination of the crossing is instead more appropriate.

This part has the highest saturation.

So the part with the highest illumination is the object in addition to the object color, the wavelength A also had to reflect that

The wavelength that the object color is slightly less pure, so the resultant saturation is lower than the original color.

Painting this I do not then paint, the saturation of the intermediate race to increase.

So this color move on this colored road to check that the saturation is low in the bright places and increase the saturation in the middle border side.

A little bit lower.

So it's not a direct drop, when using two colors

In the case of strong light, we need to select the color, for example, to increase the saturation on the border.

Then, you should think that the saturation of the shadows is unconditionally low, then about half is right.

Compared to the roster, the colors are really darker, so the clarity of the colors, if the saturation is good, is right.

But the color on the shaded side because of the purity of the color expressed as a percentage in the numbers.

So, if this color is not influenced by wavelengths of different colors, purely reflecting red wavelengths

The brightness is low, but the saturation to be painted as a high color is still quite a lot, you'd better understand.

And, in learning these theories, there are still some objects in the photo that look bright and clear, even though the photo is a dark place to look at.

The human eye has an organ called the iris, which regulates the amount of light it receives based on the surrounding light.

Instead of this red tea, the camera's aperture can control the light on the photo.

So there is a difference between this illumination and the brightness of colors as perceived by humans.

Illuminance is physically generated, but the human eye picture is light relative to

You need to know your subjective perception.

With a simple filter, I prepared this photo that

This is what I took.

Here's the calibration history, so a little bit next year, so in this half-moon section at the bottom of the layer window, open the calibration menu

is the Expo.

Turn on the exposure layer.

Look here, if the explorer raises the value of the control light capacity

You can see this phenomenon.

So, let me practice briefly and apply the light theory that I learned here directly to the picture.

First the colors. Let me take the color rims here.

Grow it a little bit bigger.

For the sake of illustration, I'm capturing it for now.

Here's the colored scroll wheel.

This disc is called the 4 table cues, and moving up and down on the triangle is the brightness

Moving left and right is saturation.

These are the three that must be understood when color

This part I will try to learn in depth when dealing with the colors of the next time.

The color of the object

If done in red

Here, when the light touches, move the value of the departure rest to the direction with light intensity according to the object color, so that the light is white.

So, if the wavelength of equal light, the color itself has no special color, so do not move the holiday.

When the light touches as it is, the brightness and saturation should be moved higher.

But if this object is illuminated by blue light, the

This red color does not increase the brightness saturation, but the effect.

Group 1 moves toward the blue in a pinkish glow.

This will change the color.

Conversely, if the green light hits, if the green light here hits, the

When the color moves, the object will be slightly orange or yellow in color.

The illumination at this time will miss or the light wavelength is pure, right?

When the brightly colored light contact, move the color of the light to the color of the light until farther.

For example, a dark and faint blue when there is a red bear.

So in the chart, if the blue is a little bit higher silver, if a blue is loaded in, when this red touches the light

It only needs to be moved a little bit, but if you don't believe that the green light is so skewed on the chart

When you touch this red object, the color of the object will move so much toward green that it will almost be yellow.

The farther away the holiday is, the lower the luminance and saturation values are below the white light standard.

For example

When there is a red bear, if white light hits it, it purely increases the brightness and saturation of the red color, even to the point of appearing primary.

However, if

A little bit bluer, so if it's only a little bit blue like this, when this red ball hits that light

The color is reduced and the brightness and saturation is reduced a little bit, so the lighter color

will have this color.

But if the green light is so strong.

Then the problem will move to the far side, and the ball that appears at this time is yellow

Because the color moves farther away, instead of being clearly visible.

Not as high as 2, and a little bit brighter.

Appears in a darker color than expected.

Finally, look at the world of objects.

So, on the color wheel, the opposite color light is there if you have it.

For example, the complementary color of this red, blue-green here becomes blue-green.

Because light of this color does not contain red wavelengths at all, the

Even if this light touches a red object, the object will not light up, so there is no reason to move the cause.

Usually, these violet lights are produced at specific wavelengths relative to white light, the

This is generally the filiation that fixes the color of the object and only adjusts the intensity and saturation of the color.

So, when this gem arrives, don't think about whether it should go this way or this way, in the red state, the lightness and saturation

You have to paint the paint very low.

This can be a little confusing, so just put the color of the light on the background that

In this example, there is very little blue light hitting the background, the

In this case, it contains very bright green light.

In this case, because there is cyan light, the color of the red sphere is so displayed when you encounter pure cyan light.

Maybe the light is the part of this color that's a little hard to understand. It's better to color it yourself and see.

Before confirming the color together, check a few light terms used for coloring and then go.

There is modeling information about fever

In fact, although this is a painting, the most important light that first shares the shadows with the list of people who are in contact with the object is called the primary tone light.

This means that if the shadows are not completely black, then there are other light sources that can illuminate the shadows.

Unlike primary light sources, environmental science is a method of illuminating environmental science in a very broad and undetermined direction.

Usually, it is a light that shines in a wide space like the sky, and the ambient light cannot be stronger than the main light.

However, on cloudy days, it may happen that the ambient light is used as the main light source, as in the case of a white snow field, when no shadows usually appear.

There is also reflected light, which illuminates the shadows with other light.

Reflected light is the light reflected from other objects by the main light source that shines again on the object.

So it must be weaker than the vermillion silver.

Or the reflected light is colored by the color of certain objects.

The light that illuminates the shadows, unrelated to the main light silver, is collectively called indirect light and is important in determining the color of interference black shadows.

In future lectures, these shade colors will be colored by representative kinds in an exercise to learn more together.

Vegetarians generally focus on the colors inherent to the object appearing in the bright

The reason for learning about light is actually to draw shadows more realistically, and the more realistically you draw them.

The three-dimensional information makes the realistic representation stronger, so it is necessary to know the colors of the shadows.

and these indirect lights cannot emit light, so objects and objects like or hole structures that

appears as complete darkness, and because it cannot interfere with any light, the darkest shadows are called closed shadows.

This closed shadow

First in the painting

Because it is often the dark part, it must be shown together with the outer line in the process of attracting the eye in future work.

As a final mention, if you look at this list and the division of the shadows, you can see the size of the lights

And depending on the sense of structure of the object such as bump and sharpness, the width of the gradient between color and color changes, and this light and dark border depending on the lighting

and changing colors differ depending on the object's three-dimensionality, which is important.

So, let's take an example of what to do if you think about these lights while doing body color.

First, let's start by understanding what color the new organisms turn when white light hits the white objects that they are most likely to be.

Because there is no light now, the ball will appear as black, but in this case white light is the three primary colors of light if it touches.

means that red wavelengths and green wavelengths and blue wavelengths arrive uniformly.

The white ball means that you can reflect the wavelengths here, so the bright side of this case is of course

Let's make it white.

Now, you can't see any shadows of light that

Now the whole appears black, what happens if you hit a blue-based ambient sphere here?

A little bit of blue light, in terms of the overall

Wrapping up objects like crazy

A little blue.

Compared to the other wavelengths, the blue wavelengths are a little stronger, and from this simple graph

Overall close to white, but only the blue wavefield is slightly stronger meaning.

Therefore, when the light is based on white, the light of these shadows becomes brighter.

The blue light is coming in, so as the overall brightness increases, the blue color increases slightly.

You can paint this color for me.

Because it's underneath from the sky, so paint it from top to bottom.

Also, in this case, with the light coming from above, shouldn't you add a little bit of blue color here?

Or,"

Generally speaking, names are worlds that appear influenced by ambient light, so let's put the blue here specifically

It doesn't need to be painted more clearly.

But, depending on the material, we sometimes add blue, and usually, you'll see a lot of that on things like metal.

There will be.

This way, if the shadows are not completely black, but slightly bluish

Although weaker than the name of the shareholder but the indirect light slightly blue means that it is coming

With such light conditions, the other balls should be given together for 7 days, right?

If in this state

On the floor

Yellow

If you have a board, and this yellow board is also illuminated by the white light

there will be reflected light present.

Right.

In this case, then, the

It is difficult to determine the direction of the ambient light, but in the case of reflected light, it is necessary to indicate the direction of the light coming from the ground.

In short, in black, the standard

As it brightens and increases saturation, move it to yellow

This color affects the color of the shadows.

The reflection is also indirect, so there is already enough to affect the roster that

In the shaded areas where the list does not affect, we can examine it more clearly.

In some cases, in these places, the

paint a little bit more, but thinking about this too much can reduce the realism instead.

In particular, it is best to show reflectance of 0 on the bright side as well, only if the material has high reflectance.

When I checked that the object was white, the

If the polytechnic body is red, then we look again at

Let the red wavelength and green wavelength blue wavelength uniform white light stand up

In this case

"This ball can only reflect red wavelengths", so the red overall will be clearly visible under the light.

Give the tip that this pure form, because the color on the tip of the corner this color is not the common color imagined.

That is, the color that falls this way, with the brightest color in the world of objects, is also best to rest.

Here too, as just now, the blue ambient light

If the ambient light is a little bit blue

Object color.

So the red and blue light arrives, so when it gets brighter here

The saturation cannot be 100%.

How much to move in pink.

The color of the light will often rise.

Replace this with

lower than the original color brightness and saturation, slightly shifting the level slightly lower than the vegetable

Apply the pink color and you're done.

Again, if this ball is yellow, I'll see how it looks.

It's already moved to yellow, so the color goes from red to brightness

Just lower the saturation a little bit and move to yellow.

If you have a lot of reflection.

Increase the brightness a little bit.

If the yellow touch is very saturated, increase the saturation just a bit.

In this state, if the illumination is very high

The saturation of the light and dark parts of the race should be highest, and

The bright side is over-illuminated, so it will be pinkish.

Put this lighting condition

Do not apply only to the process, the same lighting conditions are available for the floor

The yellow regime is also lowered, the

This part also causes too much illumination.

Only one text is needed to express both.

That is, the direction into the light and dark border shadows is the most saturated, right?

Let's take another example

I'll see what happens if these red lights are illuminated by blue light.

If the pure wavelength is only blue, this color has no reflected color, so it can only reflect blue wavelengths.

The so-called red ball is developing red wavelengths, so it is normal for this situation to actually appear as black.

But even if the light is blue, the

including the different wavelengths of light.

In this case, if you look at it graphically, it would be this degree of neon-like color, not this.

Put it on the background and verify that

Not this bright blue color.

contains a slightly different color, so a slightly less saturated blue arrives.

How to paint red as this example

The colors are bright and move farther and

saturation and brightness are worse, the

You can't paint this color in such a contentious way

Lower the brightness, lower the saturation, and take on this pink color.

In this lighting, the red ball is described.

So if this light is with the white bear, the red ball will appear clearer, and if there's a white ball here

only touching the blue wavelength.

This color will reflect out, so the white ball looks good for here.

If the color of the light it reflects depends on the material, the

With this reflection, the

Like this.

The lights are blue.

Similarly, here is a ball of a different color

When other objects enter, you will need to express the same lighting conditions.

However, if this saturated light is not high, so if there is a vague blue coming in

Little plum low

If the red ball goes into the light blue light

The first light to arrive has a very low illumination, and the brightness will only be slightly higher.

Only a little bit of blue has been moved, so the saturation of the red is only a little bit lower, and

There will be this color, which is often glowing.

And if part of the strong white light.

So the light is too much color

If too much light enters this side, the

You should be able to see the color where the light touches.

Because in this case you owe the white and the illumination is very strong.

First of all, it has to be pure red, the

This red color

Because you can't paint the whole color, illuminate the high setting.

The saturation of this part of the list decreases, instead.

is pink.

In short, what is happening is that

Keylight with strong white light intensity means that light blue ambient light is present.

In general, just look at their outdoor conditions.

In this state, on the floor

What happens if you have a green floor?

The green floor should also be painted with the same gray condition.

First, instead of the shade falling directly from this state, the blue color is added, so the color of the green shade here is

Shifting the blue slightly, a little bit less bright, enough to move the degree that

The shadows become slightly bluer.

And he says the illumination is very strong.

When the color of this object is original, the luminance is maximum, but the saturation decreases instead, the

The color of the bright part

On the contrary, the saturation is lower than the object color, and the object color can be more accurately confirmed in the light-dark race, right?

The object and the part that becomes the object are closed shadows, so it will appear darker, if the green light touches this red high sea.

Here, the red moves to the green.

The brightness has increased, moved a lot, the

The system goes up to a very low color.

Light affects the world.

Is the illumination strong enough to reflect strong light, as it is now?

A little bit more green, brightness and saturation.

Show the green light again.

The ambient light comes from a wide range, so it doesn't create such a clear race of light and dark that

Overall, it serves to change the color of the shadows.

In shadows, the reflected light has little effect, so the color of the ambient light comes in.

If the sky of the ambient light could see more direction, the

Moving further into the pink, increasing the brightness and decreasing the saturation, the

If this color comes in from above, the ambient light will turn green.

Look at the temperature from above again.

While coloring like this, I tried to find out how to find the correct color according to light theory.

By this point, we have understood the key things we need to know in order to color in the future.

In fact, I'd like to tell more of the story beyond that, but too much information

I think it will get in the way, so it's organized into sections that people often need to consider later when coloring the center.

If you want to show various lighting effects more realistically in character illustrations in the future, please consult various lighting principles, among others.

Highly recommended for you to apply to work in drawing.

And again, if light learning finds a use to learn, it's really interesting and it becomes a useful knowledge that

I'd love to know the content in addition to the lectures when greedy, and I hope that people will express it and work on it at the same time.

Reading books that are not explained here.

I'll mention it again later in the work on the light and stuff like that that you'll encounter in the real world.

Next time

In the next time, we will learn the core theory that the colors presented by these lights can be understood and colored.

See you next time. Hard work listening to the lecture.