First in an anticipated series of color-themed character drawings with the goal of melding together CG line art with a light watercolor approach to coloring. Specifically, I’m trying to use much fewer base colors (palette of only about a half dozen colors), similar to the watercolor cake set that I use. Here, the base colors are: orange, beige, gray, grass green, skin-tone+rose, and light brown.
Orange
Color palette
Among the most difficult of concepts for me to memorize are what can be called binary symmetric definitions, in which Concept A is positive for category 1 and negative for category 2, and Concept B is negative for category 1 and positive for category 2, and the names for Concept A and B do not refer directly to their properties as relates to categories 1 or 2. As a result, the two definitions contain roughly the same words in a different order. The reason why I find this so difficult to remember is because the binding between name and definition is constantly disrupted by the symmetric definition, so that a one-to-one association is not forthcoming.
Here are two examples that I have had to deal with recently. Both are concepts which I have learned and forgotten at least three times each:
Non-competitive inhibitors change the total amount of receptors but do not alter the dissociation constant. Competitive inhibitors change the dissociation constant but do not alter the total amount of receptors.
Sensitivity refers to the ratio of true positives to the total of true positives and false negatives. Specificity refers to the ratio of true negatives to the total of true negatives and false positives.
In both cases, the group names are very similar and the definitions are symmetric or nearly symmetric. I heard one strategy proposed by Kaplan review lecturer Edward Goljan, who says the best method is to “remember one, and the other is the other.” To take this one step further, I have found that one efficient memory tool for this task to be the visual symbol.
Step 1: creation of a symbol which is 1-to-1 tightly associated with one of the Concepts, and which when properly and consistently analyzed, yields the properties of its definition. The symbol should be simplified maximally without losing key features.
On the left is a Scatchard plot for a non-competitive inhibitor, in which Kd is the slope and Rtot is the x-intercept. On the right is a picture of an ill person who is very sensitive to being poked.
Step 2: Associative (slow) recall phase – the first 3+ recalls will require reasoning through the symbol to arrive at the definition, and equally so for the definition of the opposite concept. The key goal of this phase is to strengthen the two associations which are correct, and weaken the two associations which are incorrect.
Step 3: True symbolism – the symbol eventually achieves immediate meaning without any reasoning or thought. Now, the moment the symbol is invoked by the concept name, the definition is linked instantaneously.
Step 1: Select an order, e.g. (1) sensitivity (2) specificity
Step 2: Order the definitions or keywords in the same order, e.g. (1) proportion of healthy who test healthy (2) proportion of ill who test ill.
Step 3: Reinforce the ordering of the two separately, such that recall of either concept and either definition will have a natural 1:1 correspondence based on order.
Realizing that my previous method for producing CGs could never scale to elaborate backgrounds, I decided it was time to learn how to properly use brushes. Thus, I have completely banned myself from using the smudge tool for this exercise. The smudge tool is wonderful, but also a big crutch. It creates a nice blend with more personality than a blurring filter. However, the process of first laying down solid colors and then going back over and having to smudge the rest of the way made it tedious and nearly impossible to handle anything requiring large textured spaces or numerous objects.
The alternative is to use Photoshop as if it were equivalent to a real paint set, as most CG artists do. I’ve begun exploring the different brush settings which are possible. Most of this image was produced using a ~20% opacity 70% flow fuzzy brush with wet edges and a basic watercolor paper texture. This made it worlds easier to give life to a generic landscape background with only one pass.
This particular exercise, I decided to go with the concept of a locale where a character returns to at different points in her life. I redrew her five times in all: at age 11, when she is a young bookworm; at age 15, when she is a rebellious poet; at age 18, when she obsesses over mainstream fashion; at age 28, when she is holding her newborn child; and at age 37, when the generation comes full circle and the daughter is now old enough to appreciate the beauty of the view with her mother.
Her meadow when she was 11
Her meadow when she was 15
Her meadow when she was 18
Her meadow when she was 28
Their meadow
I’m only barely scratching the surface of what Photoshop is capable of, so I look forward to doing a few more exercises when I get the chance! Thanks of course to tips found all over the web.