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Top 10 Lighting Tips
Topic Started: 10 Apr 2011 - 15:56 (1,711 Views)
paradise.engineering
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Marta Dahlig reveals ten of her favourite pieces of advice on how to tackle lighting in your painting


1 HALO EFFECT

If you want to create an aura behind a character, place the light source behind it. This way, the hair will seem to be glowing. Shading hair like this is different from usual because, aside from the ‘typical’ shading of the strands in ambient light, you have to take into account the additional light source, making the outer edges of the hair lighter then run over the outer strands with a
moderately sized transparent airbrush to add ‘glow’.


2 LIGHT AND FLESH
When painting a body part that’s lit from the back, don’t limit yourself to merely adding a white outline around it (0).
Remember the light will also beam between all the lit objects, creating rays (1).
Furthermore, the light will also shine through the skin and flesh. To depict that, simply make the ‘softer’ parts of the body part more saturated (2 and 3).


3 COLOUR CHOICES
While it doesn’t matter what basic colour you choose for the skin of your character, it’s extremely important to pick shadows and highlights correctly. Basically, when you choose shadows and highlights for your midtones, make sure they’re not only of a different brightness, but also a different hue.


4 CONVEXITY
Sketch an object’s most convex places (red lines). After you choose a light source, mark the highlights (white lines).
The most convex areas are going to be the most highlighted, and will also create a slight shadow (blue lines).


5 REFLECTED LIGHTING

One of the crucial things for a painter to remember is that all objects interact with each other by reflecting light rays that fall on them back on to other objects.
In practice, you can easily implement this effect by adding some extra coloured shades with a low opacity brush (see arrows below for examples).


6 SHADOWS
In general, there are two types of shadows: form and cast. While the form shadow (1) is naturally generated by an object in range of the light source, the cast shadow (2) is created by another object, placed in front of our primary one, blocking the light
from the source.


7 STRONG LIGHT SOURCES
While the general, ambient light is a good basis for a picture and it might be enough for simpler portraits, you might sometimes want to spice things up a bit.
There’s nothing better than a strong light source to add some drama.


8 GOLD EXPLAINED

A common mistake in painting gold is to only use colours from the yellow palette to render it.
Analyse a golden object and you’ll see hints of grey, brown and green, and remember that metal is reflective.


9 SKIN TONES MADE EASY

Use Photoshop’s Colour Balance tool to match skin tones, highlights and shadows if you have characters lit by a boldly coloured, strong light source.


10 TEXTILES
Different textiles react differently to light. Silk highlights are bold and strongly separated from the shadows with a fast, smooth transition. Linen highlights are much more diffused and the transition is seamless.

Source: www.imaginefx.com
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