issue155:krita
Différences
Ci-dessous, les différences entre deux révisions de la page.
Les deux révisions précédentesRévision précédenteProchaine révision | Révision précédente | ||
issue155:krita [2020/04/07 10:40] – auntiee | issue155:krita [2020/04/08 11:07] (Version actuelle) – andre_domenech | ||
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Ligne 33: | Ligne 33: | ||
Once we have these basic colors put in, it is a good time to stand back and take a global view of our image. So far, so well, as it is clearly more realistic than the original sepia-toned black-and-white. However, there are a couple of points that need to be improved. In the first place, the subject is clearly of German origin, so the rather dark complexion is not very realistic. A reddish tint would, perhaps, be more typical of people from Northern Europe, specifically when, as an athlete, the subject would have spent some time out in the open.** | Once we have these basic colors put in, it is a good time to stand back and take a global view of our image. So far, so well, as it is clearly more realistic than the original sepia-toned black-and-white. However, there are a couple of points that need to be improved. In the first place, the subject is clearly of German origin, so the rather dark complexion is not very realistic. A reddish tint would, perhaps, be more typical of people from Northern Europe, specifically when, as an athlete, the subject would have spent some time out in the open.** | ||
- | Mais, quelles couleurs précisément devons-nous utiliser ? Sans information complémentaire sur le sujet, nous ne pouvons pas savoir quelle était la couleur de ses cheveux ou de ses yeux, quelles couleurs ont été utilisées pour les rubans des médailles, ni même de quel métal elles étaient faites. Avec un peu d' | + | Mais quelles couleurs précisément devons-nous utiliser ? Sans information complémentaire sur le sujet, nous ne pouvons pas savoir quelle était la couleur de ses cheveux ou de ses yeux, quelles couleurs ont été utilisées pour les rubans des médailles, ni même de quel métal elles étaient faites. Avec un peu d' |
- | Une fois que nous avons mis ces couleurs de base, c'est le bon moment pour prendre du recul et avoir une vue globale de notre image. Jusqu' | + | Une fois que nous avons mis ces couleurs de base, c'est le bon moment pour prendre du recul et avoir une vue globale de notre image. Jusqu' |
**To solve this setback, I put in two more layers. One went between the original image and the color layer, and was set to “lighten”. On it, I lightly airbrushed some white (using 20% opacity) on the darker parts of the subject’s face and hands, thus removing part of the shadows that the original photographer had left due to his lighting solution. The second new layer was set up on top of the color layer, as a separate “normal” layer. On it, I airbrushed --also, lightly-- some red on the same spots. Thus, we get a slightly reddish tinge to facial shadows, and on the arms and hands. Some observations of modern, color, photographs show that this is more “normal” when the subject is a person with a light-colored skin tone. | **To solve this setback, I put in two more layers. One went between the original image and the color layer, and was set to “lighten”. On it, I lightly airbrushed some white (using 20% opacity) on the darker parts of the subject’s face and hands, thus removing part of the shadows that the original photographer had left due to his lighting solution. The second new layer was set up on top of the color layer, as a separate “normal” layer. On it, I airbrushed --also, lightly-- some red on the same spots. Thus, we get a slightly reddish tinge to facial shadows, and on the arms and hands. Some observations of modern, color, photographs show that this is more “normal” when the subject is a person with a light-colored skin tone. | ||
Ligne 41: | Ligne 41: | ||
The other problem can be related to the texture of the photographic paper originally used to print the image. When the postcard was photographed digitally in modern times, the relief on the surface of the paper shows up as a fine corrugation mark, present on the whole surface. It is not especially problematic on the blue background since the backdrop used would have been made of some cloth, and could very well have had some texture to it. But the end result is not very realistic on bare skin, or the metal of the medals.** | The other problem can be related to the texture of the photographic paper originally used to print the image. When the postcard was photographed digitally in modern times, the relief on the surface of the paper shows up as a fine corrugation mark, present on the whole surface. It is not especially problematic on the blue background since the backdrop used would have been made of some cloth, and could very well have had some texture to it. But the end result is not very realistic on bare skin, or the metal of the medals.** | ||
- | Pour résoudre cette question, j'ai mis deux calques supplémentaires. L'un a été placé entre l' | + | Pour résoudre cette question, j'ai mis deux calques supplémentaires. L'un a été placé entre l' |
L' | L' |
issue155/krita.txt · Dernière modification : 2020/04/08 11:07 de andre_domenech