issue153:krita
Différences
Ci-dessous, les différences entre deux révisions de la page.
Les deux révisions précédentesRévision précédente | Prochaine révisionLes deux révisions suivantes | ||
issue153:krita [2020/02/11 08:53] – d52fr | issue153:krita [2020/02/11 09:23] – d52fr | ||
---|---|---|---|
Ligne 61: | Ligne 61: | ||
Notre conclusion ici, c'est que pour coloriser notre image, nous aurons besoin de lui redonner les informations qui ont été perdues. Heureusement, | Notre conclusion ici, c'est que pour coloriser notre image, nous aurons besoin de lui redonner les informations qui ont été perdues. Heureusement, | ||
- | Pour termeiner | + | Pour terminer |
**Now, with the airbrush at a low opacity setting (about 0.2 should give good results), and rather broad opening (perhaps in the range of 40 to 300 pixels, depending on overall image size), let us brush in some color. Unlike in the first part of this series, when we were covering up small defects, now we will need to proceed with wide open strokes giving coverage to large areas at once, but with little density. For our first attempt, we will be using just three colors --a light blue, a darker green, and a reddish brick pink-- and not worrying about complete coverage of each part of the scene.** | **Now, with the airbrush at a low opacity setting (about 0.2 should give good results), and rather broad opening (perhaps in the range of 40 to 300 pixels, depending on overall image size), let us brush in some color. Unlike in the first part of this series, when we were covering up small defects, now we will need to proceed with wide open strokes giving coverage to large areas at once, but with little density. For our first attempt, we will be using just three colors --a light blue, a darker green, and a reddish brick pink-- and not worrying about complete coverage of each part of the scene.** | ||
+ | |||
+ | Maintenant, avec l' | ||
**The result, so far, is quite reminiscent of period hand-coloring of black and white photographs in the early 1900s. We already get a better appreciation of how the city’s rooftops and white buildings must have stood out from the surrounding vegetation and blue sky. However, we can also see that this approach has some drawbacks. The main one is that, since we are simply adding color on top of an existing black motive, we are darkening considerably the scene as a whole. This is not very realistic. Another problem is that our green coverage, for example, is uniform across different types of trees and grass, each of which would have had its very own shade and intensity. So, we need to think about how to modulate our new colors as a function of what they are laid out upon. This is what we shall do in the next episode of our series, though the reader is encouraged to experiment freely on his/her own beforehand. Until then, take care!** | **The result, so far, is quite reminiscent of period hand-coloring of black and white photographs in the early 1900s. We already get a better appreciation of how the city’s rooftops and white buildings must have stood out from the surrounding vegetation and blue sky. However, we can also see that this approach has some drawbacks. The main one is that, since we are simply adding color on top of an existing black motive, we are darkening considerably the scene as a whole. This is not very realistic. Another problem is that our green coverage, for example, is uniform across different types of trees and grass, each of which would have had its very own shade and intensity. So, we need to think about how to modulate our new colors as a function of what they are laid out upon. This is what we shall do in the next episode of our series, though the reader is encouraged to experiment freely on his/her own beforehand. Until then, take care!** | ||
+ | |||
+ | Le résultat, ici, rappelle asez bien la période où on colorisait les photographies en noir et blanc, au début des années 1900. Nous obtenons déjà une meilleure appréhension d'à quoi ressemblaient les toits de la ville et les immeubles blancs devaient avoir poussé au milieu de la végétation et sous le ciel bleu. Cependant, nous pouvons voir que cette approche a des inconvénients. Le principal est que, depuis que nous ajoutons de la couleur par dessus les motifs noirs existants, nous assombrissons considérablement toute la scéne. Ce n'est pas très réaliste. Autre problème : notre couverture en vert, par exemple, est uniforme pour différents types d' | ||
+ | |||
+ | |||
+ | |||
+ | |||
issue153/krita.txt · Dernière modification : 2020/02/12 14:44 de auntiee