Deciphering chroma - Shaping shape with color - Edges

Chroma (light and shade) I think it can become the leader of the industry, and it is one of the high-end products.
Chroma is the degree to which a color is light or dark, measured on a scale from black (darker tones) to white (lighter tones). For use, I've arranged the following nine shades from white to black.
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1. White (brighter note) 6. whisper
2. Light the middle tune 7. whisper
3. Light middle tone 8. whisper
4. Light the middle tone 9. Black (darker note)
5. Intermediate tone
Chroma table: These are the nine shades between white and black, starting with the lighter lighter note No. 1 (white), passing through Nos. 2, 3, 4 (light middle note), No. 5 middle note, No. 6, 7, 8 (dark middle note) to the darker darker note No. 9 (black).
This diagram shows all the parts of the human body covered in the various demonstrations in this book, as well as some of the bones and muscles that are prominent on the human surface. Using the male body as an illustration, it looks more obvious.
These nine shades include almost all the tones that the naked eye can distinguish under normal indoor lighting conditions. Of course, in nature, especially in the direction of light, there are more tones. Most of the brighter tones appear in the background parts of the landscape, and many painters, unaware of the limitations of their color palettes, have naturally failed in their attempts to paint the sun or other bright objects. Some people have even given up painting because of frustration in this area! However, the light in the studio rarely causes such chroma problems, and nine shades are more than enough to cope.
Create shape with color
In monochrome painting (painting with different shades of one color), the only factors that play a role in shaping the form are chroma and edges, but in color painting, the law of chroma invariance can be applied. This rule means that although only nine shades of light and shade are used to represent the form, the variation in color warmth and cold can be used to achieve the perfect effect. The way to change the color cold and warm (color) is to add a cooler or warmer color of the same shade to the original tone.
The significance of changing the color of the body (rather than changing the light and shade) to represent the change of form was well understood by the Impressionists and other painters of the late nineteenth century. There were many Impressionist painters who used very rich colors, but in some cases, light and shade were rarely used. When their work is reproduced in black and white, the contrast is weak. This is by no means a criticism of the Impressionists, whose whole point of view was color and light, and whose paintings were never intended to be seen as monochrome.
On the other hand, some other painters of the same period, when printed in black and white, look just as intense as when printed in color. John Singer Sargent, for example, rarely works in more than five shades, with which he encapsulates the entire hierarchy of light and shade. An analysis of his monochrome paintings shows that he used only five shades - first, fifth, seventh, and ninth - on most occasions. In other words, he used a brighter light note, a brighter middle note, a middle note, a dark middle note, and a darker dark note. The remaining four shades were rarely used, sometimes almost never, and he often replaced them by changing colors.
When shaping the shape, changing the color temperature ratio can make the shape reach 40 changes, in this range there is no need to change the chroma. This is especially true under the natural light in the north, because the light is soft and does not form a sudden change in the relationship between light and dark.
Side line
Edges appear at the junction of different shapes, different shades or different colors. Every body, in terms of size, has a relatively low boundary line, and the treatment of the boundary line cannot be arbitrary. The hardness of a boundary line depends on the degree of ease and abruptness of movement between the two areas. When one piece of light and shade or color is very subtle gradually to another piece of light and shade and color, and the clear line is not clear in the middle, there is a softer (invisible) border line, when the shape, color, light and shade of 90 or more changes, and no other tone is added to mitigate this mutation, there is a harder (pronounced) border line.
The sidelines also serve other important functions. Like color transformation, it can be used instead of light and dark changes to represent the form, like color blending and chroma control, the boundary line is an indispensable part of the overall painting. As we all know, the brighter light, the darker dark, the stronger color and the brighter edge line can be brought together to form a more attractive focus on the screen. More on touchlines in the following demonstrations.
This is a detail of a large painting, and it contains the typical lines that would appear in most paintings, with one very sharp line. The first place is where the right leg (referring to the reader's right side, the same below) meets the armpit, the second place is the outer edge of this right arm, the second place is below the second place, where the background meets the right side of the body. There are also many missing edges: along the entire left side of the face, where the right side of the hair meets the background, under the right knee, where the hair is turned down, under the right forearm, most of the dark side, and many other bright parts of the missing edge. In addition, from the right shoulder down to the hand, you can see various types of side lines. The boundary line of the right shoulder at the junction of the high clavicle and the horn muscle is sharp. As it passes through the horns, it becomes blurry, but at the point where the horns meet the head muscles, it becomes very distinct. Then along the lower side of the right arm almost completely disappeared, to the elbow again bright. The upper forearm meets the wrist, where the line becomes sharper, and then begins to blur again as the light gradually covers the back surface of the right hand.
This is a detail of the demonstration Nine sketch, which illustrates that it is possible to create such colorful edges in a sketch. The sharp edge is on the right shoulder, but in the center of the picture is an almost invisible line that runs from the eyes down through the hands. The more interesting soft edge is the entire right arm and right hand, and the edge completely disappears at the elbow bend. The edge of the right forearm remains blurry and becomes sharp at the tip of the thumb. I use a bristle pencil, paper roll, damp cloth and, more often, my index finger to draw soft and missing lines.
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