How TONE is operating
The tone in this image adds progressively greater detail in
each part, though it is most important in the first two parts. In the first part,
the sketch, the tone is used to show the difference between the waistcloth and
the creature’s skin, and basic shading to draw out the details of the creature.
In the second part of the image, the render, tone adds depth to make the
creature appear 3 dimensional. This is accomplished by more complex shading
that shows the curves and detail of the form. In the third part, the colored
render, the tone of color enhances the depth and lighting in the image, giving
it a more life-like physical and visual form.
How TONE is interacting
In the sketch, tone interacts with line to establish the
boundary and contours of the subject. Line is also used to provide different
tones of shading to show the build of the creature, and the detail on the
horns, tail, and face. The lines in the render as less defined than in the
sketch, but still serve the purpose of adding realistic shading to the muscles,
body, and face. In the complete color render there are no longer any lines,
they have been replaced by color and tone to show the contour and the detail of
the subject.
How COLOR is operating
Color comes after, and as a result, of tone. Tone itself, in
the first two parts of the image, provides color as varying shades of grey. In
the colored render, color operates by enhancing the details and lighting that
tone provided. The render becomes much more life-like when it is colored, the
horns, nails, and waistcloth are set apart from the flesh colored body while
the cuts are more obvious, all of which give “character” to the creature.
How COLOR is interacting
Color is interacting with texture throughout the image, but
primarily in the colored render. In the sketch, the different shades of grey
create enough texture to show which parts are supposed to be scales, which are
cloths, and which are bone and flesh. In the uncolored render, texture is
further fleshed out, now showing the bumps and curves and bulges of the
creature, though some of the texture differences between the cloth and skin are
lost. The scales on its arms and tail have also been removed and the horns have
been changed so that they appear to have a pattern carved in them. In the
colored render is where color and texture interact the most together. Here the
final texture is added, the creature is given small grooves in the skin of its
chest, legs, and arms; the cuts on its chest and leg are more prominent; even
the lines on the knuckles are added. However, all this texture would be lost if
it wasn’t for the color in this render: the red that makes its wounds more noticeable
and the patterns in the horns easily seen, and the lighting that makes the grooves
I the skin stand out.
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