Monday, November 19, 2007

Color Theory 8 - Art Lozzi - Snorkasaurus Hunter - salmon morning

This is my preferred color thinking for cartoons. Colors and techniques that make the cartoon seem warm, real and inviting. Even though this is very stylized-not realistic, it still has much depth.
I love the colors and textures in these BGs from an episode of the Flintstones.
The underpainting level is a salmon color (the sky)
Then Art painted the other colors on top, leaving some areas transparent so that the sky color blends with the other colors.
If you look at the walls, you can see a lot of clever decision making at work.
There is a fine sponge texture between the sky layer and the more contrasted brush strokes on top.

Note the big broad brushtrokes at the edge of the round house. Those are placed deliberately around the edge-not in the middle.

This is a good use of contrast and control. The strokes themselves have a lot of flair and aren't parallel-yet they still wrap around the house. The organic shapes of the strokes make the house seem real, not mechanical. Lozzi has made many creative decisions, rather than just fill his whole painting with equal amounts of texture or evenly spaced brush strokes.
Looking closely you can see that the textures and brush strokes are not the same exact color tint as the underpainting. There are all kinds of subtle tint and value variations. This keeps the picture from looking monochromatic.
There aren't any simple colors. No primaries or secondaries, and the overall effect of the clever color choices makes the environment be more colorful than the typical garish colors you see in many cartoons, both past and present.

More good stuff...Subtle variations in texture and color make the overall main color seem much richer and not so simplistic and flat as pure garish primaries and secondaries.

I love the rocks in the original Flintstones.

Is there anybody out there who can paint like this and needs a cartoon to let him?