LIGHT: MATTE, LIGHTING A CUBE Luk for us, when it comes to a cube or (Our next form, the cube intreduces us to ox, there i simple construction process new fundamental skill emtifying the that willgieustheseorientationsinrelation relative angle ofa plane tothe light source. 10 our form (Sia, This planar lighting ‘This wil be required for al subsequent process, using a dummy sphere to locate lighting soisexeetil to master, ‘value, helps us maintain a consistent ight Bla brew cute. jeu ncn emp Alirecton ares an entire collection ofcubes (G2). Use i to try lighting a cube from any angle! This ability to maintain consistent hting Say sil forall realise arework and isa worthy onetomaster erepactne by mang JF tery ec centr by drain erect etour WT] le wary ne crt ofan cubes planes draw anautough Bid ofthe pene angles nation tothelah sure lt the Ble cacncrtneoherszaut once walmarenateentaiue when ‘BY Theresting cubes consistent ering ing. he etc snore racy tote cuban nica the green mathod acme scasone a probit can Bevery ditLIGHT: MATTE LIGHTING A CYLINDER Now that we have thoroughly lacused the ‘eo most fundamental forms, let's examine the secondary fundamental forms: the Planar 38 hcyinder Bee caution matching rence nthe ender ac phare, Onthe yma and een cinders = se wane a ren don the cylinder and the cone/pyramia. Both ofthese forms ae fundamentally combinations and transformations of the cube and sphere. Our first form. the epinder is rounded in Ba ow 9 endo rating 34t cone sontgrasent ving fone dimension and planar in the other two (03). The approach to lighting se requires | a combination of the two techniques Alscaseed on the previous pages (48-2 U Bed Unetrevete Be Soten ch aun pone carvedLIGHTING A CONE/ PYRAMID of the pyramid and cone. These forms are simple transformations of the cube and ‘flnder respectively Tocrestea pyramidal se need to do is squeeze the tp or bottom [BB eramiseand plane ofa cube into point to create a cone, ane einer we the same to cylinder 1 races narod ‘constructions, the more you will understand ( epee ) =a =o —— — ee ee —S /) wo i wy Shee oe Sa ect ‘thse wont gn mth eh regular 28 Now lets look at the closely rested forms > Zz => ea 34d serene le foreach ‘Ths odin etterLIGHT: MATTE FORM TRANSFORMATIONS Moving beyond these specific fundamental forms and into more complex ones, the same logic will always apply: However, {i cam be helpful to understand a couple of Fundamental trensformations we can. apply toourbasicforms. CUTTING Cutting is taking a planar sce out of our fundamental form (8), We can do this rom any fndamental form, at any angle, and igh the resulting shape using our sphere ‘value asigament method, Note thatthe valu of the new plane wil not always be a simple mix ofthe two values of the adjacent planes. In this case, che new planes more ibang than ether of the others <0 becomes the brightest plane ‘The reverse effet ofa ct can be created by auding an extra plane inside theangleof two existing planes as shown in image39. BEVELING ‘Beveling isthe rounding of two planes into cach other Is just an extension of euting, With more steps between the two planes, Which we then soften to create our final caved form. Beveing ean be done as abroad curve (40) ortighter curve (i) onthe ouside or inside ofa shape (4 Again, itis important to note that the ‘values for these inbetween planes wil nt always be a straight mix ofthe two original planes - they may sometimes house the brightest planes. This is a good reason not to simply blend when we painc from life or imagination, but to uy to establish the correct values for ourselves eis also important to note chat every cube sn rel lf ac leat tle bit beveled at the edges, so these in-between values should be considered whenever we want to model ellevable planar surfaces. $58 curing slaw sno a cade tore me completo.EXERCISES FOR INTUITIVE LIGHTING [A this point in the book, we have gone a Tong way in describing the log that will be consistently asefl to usin lighting any Senne | understand the technical mechanisms ‘that build up the real world, we can tend et to get mechanical and overly involved tn ae ‘thesclenceand caleuations oflighting our |__ drawings. Tis analytical approach can be 438 Srwsaosd Tiscantearyshepe AUB Add se ana suc tothe dood, sea bit ‘neredibly useful in truly understanding jousarc-tnereae wrong arawerchere!_ of perpecthe tos planes ane depth ou shape what we are doing and how todo tin the most “perfect” way Kbe bec on the However, when we want 10 work on more aha planes creative projects, thie technical perfecon, a Loose ceea ‘ansometimessevea abarrereoue work erennton teh rather than 2 help. I's important to develop ; ‘i pare nar your an intuitive understanding of how to apely - ‘anna sone ‘his echnical knowledge in a exible and creative way, to forms that ar less precise and perfect. LIGHTING A PLANAR 434 scion nes DOODLE FORM fromthe ing lets explore a few small exercises you seneretathe panes, an practice to build thie more snatine ngtoorcery ‘understanding of direct lighting, staring ee fatten ‘with a roughly doodled planar form (4a-e ne wien your luce LIGHTING A ROUNDED DOODLE FORM The process for lighting a rounded form is similar tothe planar process, taking what ‘we learned from lighting geometry such a& 43e sroxting spheres and cylinders. It just takes a litle tome ote pana ‘more time to plot out the orientation ofthe vrrsionscentes forms (44a. rorrunaatrme obec. But ati snavjectieoiety(hb ora dose Again can Beary nape (he nason ne aon Sh, andres hates Dow ve arene plane ect cng thet a a) J CHARLIE PICKARD (4d sour out fr byotenng the edge ete he value soups ake sure at of tes grouper rate ey am shadow oh [AB 0 senpnyng sar ue nto. ant oma ighting it trem dterent ones VARYING LIGHTING ION ONE SUBJECT [Another great exercise isto take & known Seman iolatethe planes and their various orientations, such 2s this planar head, Once you have that drawing, you can relight the reference from any ange you like, sing the basi lgic that we have discussed, ‘You can experiment with varying the ight firecdon and even the local color. Ty to find as many different lighting scenarioe 38 possible and have fan with it (45)LIGHT: MATTE CAST SHADOW CONSTRUCTION So far in our discussion of light, we have ‘been working with 2 very simplified scenario, fee of environmental clements. ‘Ofcourse, this is never the casein ife-any representation that aims tobe realistic has } ‘tw consider the environment. The fist way ‘we can approach this is by exploring the ‘construction ofeastshadows, i PROJECTING A BASIC i CAST SHADOW As dlscussed on page 76, cast shadows are the hantedged shadows crested by an objet blocking the light They work by the slmple loge that light will ways move in straight lines, casting shadows with highly predictable shapes, (468 oon the form ha cst (6c connect ine 464 ron coetnton ‘The fis thing we need to learn to constract, 4 cas shadow is how to project i onto a lat ground plane. This is the simplest form of cast shadow we can construct, using the following process (46a-d), ‘This simple construction will always in directional light and reverse ‘engineering it is often the easiest and most reliable way toidentiy the light direction in rallife reference. if you are ever confused ‘when working from lifeora photo reference, refer to the relationship between similar points, from the form shadow terminator to the cast shadow, 10 work out a reliable consistent direction 47. aN When dealing with more complex shapes, we may not have such a direct path tothe ground plane to find our intersecting lines. However, there is a simple solution that ‘will wok in most scenarios. Simply projet verti line straight down to che ground plane ~imapine it a8 apiece of scaffolding holding up the pins ofthe shape (48), (Once we have oriented our points to the round plane, projecting the cast shadow rans along the same lings 25 in our lst example. Simply project the light’ path ng the ground plane end plice points ‘where the lines meet, These points define the shape ofthe est shadow iegrdeetbetonycion cstecame pine tlaenty te ‘58 wth seme minorNORMALIZING METHOD Neca pean wr Bt <= Be eegtcteiesicime —— ers ean ere hae fs inraluable for working out how the light will hc the ground or other surfaces in a scene Lets quickly coverhow to“normaliz” thelight drei othe ground plane so we R D> ‘an east accurate shadows 450-0, ‘50 Lets oo wi hina Hwee, Be cnder mila the cases vay toads teh aka dot non whet e rmorethecylnde urlgh sous) catonardu, QSL& Gare 40d exparcing he aon to 2 eee renin ‘inet nls show or chest ight reton, ‘he Totes ou tena for tndng angle an ptcing apan 498 ms pounspeneareten cannon bermatahed peroectve se will n mre depth on page 5 By an eteae wth orig source making itera whan te einen cece rePanrrch ar fog cede? Sateen around We now havea flundetandngSo far we have been studying cast shadows fn basic at plane, but forms will rarely be chat simple! Objects in more fleshed fut scenes wl east shadows onal sorts of elevated planes, and even onto eachother, In onder 10 tackle these more complex problems, we must learn to expand our ground planes line of direction into. a crosesecton of the form, This i quite straightforward when looking st wo simple forms, with one casting shadow across the ‘ground onto another, at demonstrated ‘elow (SOa~d) Thesame method can bused tw casta shadow across multiple objects (50. However, a complication arises when a complex form cast shadows onto itselé Tie ‘an largely be solved through our normal procedure, but sometimes presents s with anew problem, as shown inthe bridge form ‘in images S2a-f An object can potentially asta shadow onto another shadone The challenge here is that it not obvious Winere the form would stop casting shadow ascitic on tel and start casting a shadow onto the ground plane In oer to find this post, can draw through the form and cast both of ‘he shadows as they would sit onthe ground plane: Once we have the two cat shadows ‘mapped out, we can observe where they ‘veri (marked in rd in 5, ‘We can then reverse-engineer the direction ofthe light back onto our original form ~ in {his case, the wall ~ thus giving us all the pln required to securatly draw our full cast shadow bone fermanio anceCHARLIE PICKARDSOFTNESS OF LIGHT So far we have been purely dealing with point light souress and parallel light directions. The results of these are ‘generally referred 10 as “bard” light, ue tothe simple direction ofthe path of ‘those kinds of light sources, where we can generally observe strong light shapes and dark shadow shapes, While this type of rather stark lighting Incredibly usefil to us for an inital study of modeling is exvemely rare in nature ‘and would hardly evr be seen i its purest. form (53), Instead, most light sources we encounter have a widh and thickness that influence the character ofthe ight and how affects form, 158 Asinae point oh oe ar igh ie se fry but rey ed inet In order to understand how this variation affers our modeling lets double our Point ight sources (6 As we can se, this anctions along the same rules that we have Aiscussed so far: The form appears brightest, where i faces the light most and gradually darkens ast turns away to shadow: The only ‘ceangels tha each of our vale groupe adstogether If we assume the light given a by fur object can't go over 100% brightness, we will ee a lager light value roup and an additive combination ofthe other value groups. ‘We can also se the secondary light srking the opposing lights cast shadow, creating now effect called the “penumbra” The ‘penumbr's size will ncrease with reacive Gistance, both fom the light source and from the plane the shadow is cast upon 65). we connec the two ight sourees into one ‘continuous light, ike an indoar strip ight ‘we can observe our first “soft” ight source (56). We can think of 2 continuous light source as an infinite series of point ight Sources. Its effect on our form isa softened ‘version of our double light-source setup, softened in the dimension we have widens. “This leads us co our next important iden about light As the width ofthe ight source ncrases, so does the somes ofthe light we wen ths gh source in the hid dimension, a isan TED panel or a indo, this stening ete expands al rer ou form and cat shadow GI. Many oogrphers ahi this fst though “hee of soto ecto Since ery Hight source wil have some with, we must vay conser thi level of sofinee and hws irecy proportional tothe width of theliphe source ‘If we expand the light source Infinitely in ‘every direction, we can see it softened t0 fs most extreme degree (6) The closest we Tbave to this in the natural world isthe ight “coming fom thesky. In this case all sense of “ashadow shape and usual value groups are Jost. The ony value change we can se0 5 2 general darkening asthe form moves away “from the light source. This extreme form of soft light e generally referred to as ambient “er environmental ight, which wel explore fonthenextpage. Ney 7) Sac gees ere cox eee eer es 56 Lensnering te ite sonansnzanecis 8 spanangsne lasouee nite greta nayLIGHT: MATTE AMBIENT LIGHT AND OCCLUSION “Ambient lights an essential rype of light to understand, and we need to consider it separately from the direct light sources in any given scene. Everything that we see must be considered as a light source sn ‘tse every matte surface projets light ‘out in every direction and the ambient light in a scene can be thought of sx an ‘sccumiation ofthis light Its present in ‘every environment and is the reason that ‘not every shadow iscompletly black, Due to this, the" envieiamental ambient light isthe primary driver behind all ofthe ‘modeling and colon within the shadow of any subject. Since thi ight wl be striking fur Forms from every direction equally we cannot rely on our old principe ofthe lightest form being the one that faces the light most. If we cant ue thisogicto model four planes, how can we conceptalize ‘modeling them? The answer isi ow the objects cast shadows upon themselves. As ‘objects come closer and closer together they ‘eventually reach a point where no ight can strike the surface from any direction. This leads usto another rule: As object get closer {ogether the ambient ight they present will decrease, showing a darker value ‘Thies callable ceisfon” an effect ‘hati always ocurring whenever a shadow 's not pare black. 1's an extremely subtle effec shat is drowned out in dre ight. is ‘he result of very sot light, so the darkening Should also be represented as a very soft effect (59). Many amiss create images islating this effect, especially im 3D. A great amount of depth can be communicated purely through these “ambient occlusion passes” Some digital pints apply amblent occlusion using a Multpiy layer over tbe local colors of an 96 UageeWhen an image requires modeling form, as shown in image 60. Note how sofily In the shadows, ambient occlusion mast be the forms of the back have heen modele, relied upon purely forthe representation of while malneaining realistic vnseof frm,NATURAL VERSUS LOCAL LIGHT ‘Inallourexamples up tothispoint weave ‘been making one key assumption: that all of our light rays are traveling parallel © ‘each othe. This 2 wef simplification ‘thathelpsus understand thetheery behind ‘what we observe in nature, However, in practice sis is commonly not the case, and ‘mort ofthe light sources that we abservein ail lifeare point light sources lights that originate from one pointand projectout in all directions. Al light sources must stat somewhere, All the artical ight souzees that we del vith ona dally basis work by thie principle ‘ven the sun doe, but i exits at such an inredible distance from us that say difference in the angle of the ight ray, by the time they reach us, negligible four purposes. Therefore the only common cample of parallel light rays that we can observes the natural ight from the sun (60, STRATEGIES FOR LOCAL LIGHT ‘swe are extremely unlikely to encounter parallel light ray in most other situations, we can make a bread separation between natural” and “loca” light sources (62 Luckily al ofthe logic that we have already studied sl holds ru, wth ust afew small adjustments to secount for thelimlatons of local ight Thefiret of these adjustments is that, for our Tocalight source, iisimportanttoplacethe light soure within our scene, Once we have alight source placed. wecan use to project cast shadows consistent in relatonship to thelight as we can sein image 3 and as we learned on page 9 ‘This adjustment alo applies to the cross sections we used for ploting more difficult Natural light source Se Local light source8 i 4LIGHT: MATTE LIGHT FALLOFF Once we begin to consider local light sources, we must grapple wit the idea of light fallofE. Like the drop-off introduced ‘on page26,thisistheidea that there willbe ‘an observed loss ofbrighmessas forms and planes recede froma local light source, ‘This is most easy seen when we compare two cubes (66) The first has been lit by a natural light source from a window and the Natural light Local ight 100 second by a local light soure. The locally it cube shows pronounced es of ight overa single plane, while the naturally lit cube hae no such ait ‘This is because the angle between e2ch plane and the local light source becomes Shallower, causing a plane to ose value as it moves away from the light. Therefore, ‘there always thi ss (Flloff of ight with allangles on a plane ‘equally local light sources. Values wil always move from dark to light toward the direction of curligh ource on every planein an image rendering (67, we can see just how much this adds tothe blievablity of our scene When represensing lea! ght fllof in our adjacent planes a a hard Limit on how dark ‘we can uke the darker values of Als steeper than 8, s0 plone darkens farther away from light sourcewe can gradate our current plane Different planes would never have the exact darkening of values! When creating these frodiens, you must pay careful attention hat you plane appear curved (67, This steepening ofthe lights angle is n0 s loss of light Ligh aveay from thei source. This loss of light is inverse square lise” Thi nw state that the distance increases, the light decreases the square of the distance, Basically, if ur distance from alight source double, the chelght diminishes by our. We don't nee ro eal he that they ar exponential n nats these value changs The amount of light lost in this way is ae sadent both on the intensity of the light source and the relative distances appearing ba the sceoe. This is am effect that cam be manipulated for artiste purposes, and ca be an extremely useful tool for creating stmosphere (6, ATMOSPHERIC PERSPECTIVECOLOR MODELING AND COLORED LIGHT -Atthis point we have extensively discussed On this at ‘what happens to values in matte surface our general rule to shading. But what happens to the two follow when panting matte surface il be: other color dimensions, hue and chroma? Planes If you turn the neat page to image 73. you There canbe alotof confusion here butte fan ee I have used polarizing filters to principlesare simple. ‘solate these rwo separate forms of shading soe can observe this effect inaction. et’ intally take the case of a white light In source As welearned onpage32, when white 5 most When the matte shading i isolated, you light enters an object, some wavelengths programs have Saturation sliders. However, can ate the clearly disnishing chroma on are absorbed and others are expelled. The when working traditionally, this isoften the the areas that go into shadow When the most important relationship te am. how — specularshadngisisolatedyoucanse that to malnrain within an image It can be an isa separate lighting effet influencing ts xclletplaceto war your srudies ‘own area. These bight areas are where the ‘modeling deviates from che matte saturation SEPARATING MATTE in the original photograph, AND SPECULAR INFO ‘The proportion ofthe wavelengths absorbed Students ae often intially confused by the While humanmade objects generally have remains consstentregardessoftheamount above rdationship, as i's often not what clear separations between local colors, of light that enters the material so the we observe in nature. As wel discuss later, organic objects will change mare gradually, objects hue remains constant in simple ‘as we can see inthe apple in image 76 If we matte surface shading in whit light We can ‘want to represen thes objects well we need think of the abjer's hue ax colored light to understand what the various diferent dlmming throughout the form. ‘simple matte surface modeling and follows local colors ae in isolation. diferent ae fs covered on pope igi low = JS reas ee eee eeeLIGHT: MATTE Wien tight 3 Local and shedow E colors only + ns 176 he leaclow of merge 106Hueand chroma areeasytoseeunder white oflocal clo Tight sources, but wel rarely ave perfectly and secondary loal colors under whie red, a perfety bi Palanced light. The moet perfect white mes of day. Colored light presents new one hue and saturation depicted. Under fecsonboththeobservedehromaand hue each colored light, the other two primaries claw areeachoftheprimary are unable to reflec any light, appearing as {loca color. Thisleads sto and blue LED light sources (99) We our fis rule of clare ight: SETS | only during cerain weather conditions and Energy intensity Energy Intensity Energy intensity Energy lntensity and hue remain constant ~ just with only (@jemlorsfa coloredightsource, Visible fight |e Visible ight Visible ight eee eee Visible lightLGHT: MATTE Ife add another simple wavelength to our is leads us toa second Tht, we can lear some useful new faces, useful rule that can simplify how we thinks Wie can seth out colored igh This shows us Energy intensity O° visible ight Energy intensity Visible light nt reflect the light) Energy intensity °. @ Visible light Eneray intensity ° Visible lightCHARLIE PICKARD WARM AND cold colors that are usually less chromatic COOL LIGHTS become more chromate, whlle warm colors Now we move into more balanced light appear darker and less chromatic sources, the type that we will most often revere effects ruefor warm light eal with in everyday color temperatures are gf according to the heat (in Kelvin) chat an between the warm and cool colors here. It ese, diferent ily labeled Green can be sten at our nevtral color incandescent light source would need to isineresting to note that these light sources each inorder to produce that color Wewill wil shift from warm to coal, asin the explore light source remperaraes further spectrum, but willskip green light Thisis an fon page 116, but for now, we can split these inherent property of blackbody radiation a Deadly into warm and cool lights (77a-e). thermal radiation given off by heat-emicing objets so greensnted lights are extremely \ These light sources crate less exeme rare and are something we won't often ‘ersons ofthe one ortwocolrlight effects observein the real worl. We wil revise the tee observed previously. In cool light, the conceptf blackbody radiators on page 1 Enersy sotensity Eneray tensity Oo Visible ight energy rensity Visible ight 107AMBIENT SHADOWS ‘Now that we have been introduced tothe concept of ambient light we need to learn about it effet on the presented values of our shedows, Many of the exaunples in this booksofarhavefollowedthe"s0istoblack rule shown on page79, where the ambient lightiswhiteand therelativeshadow value ‘is mediom gray, halfway down the sale toblack. This sa great genericruletostart with for whive ambient light, but the way ‘shadows work is somewhat more complex. fhe most important thing to know is that the value of a shadow isnot really a property ofthe object uel Inf They would al be bls! Shadows only gain value and become visible o us as a result of ambient light. Since light sources will always lose light when they strike objects, the shadow will, always be darker than the amblent Ught Some pbotographers break this rule with enteral light source, but im genera this il be tue. 5 indents tous he The “50% to black” rule is @ good one to use when dealing with a white, high-ralue background. We algo know from the moon that an absolute black background leads to Absolute Blick shadows. We can reat each level of amblence as being between these to extremes Sofa white background has shadows 50% ofthe way tblack, a50% mid say background will have shadows 75% of the way t0 blac, and black background wil have shadows 100% of the way to Black (7). In thie way, we cam work out & ratio beqween our lights and shadows, As long as we maintain this level of shadow within all che objets fn our scene, we can Paint any colored object belieably in any exvironment 9) Keep in mind hat this rule will not be absolutesnd there are many external factors ‘that can potentially break it, Cameras can expose che shadows to any value they like and artists weil often make creative o% ambient light, 100% to biack 75% ambient light, 67% to back 50% ambient light, 75% to black: 75% ambient light, 67% to black 100% ambient light, 150% to biack adjustments for different expressive effects What wil always romatn tre, however, is the overall relationship. Rules like thes can only eer serve us as a stating point but the relationship ofthe shadows to the background must be consistent throughout fan image. If we pay careful attention to various shadows! relationships with blac, we ean crete and matntan a strong believabllity in our Images.CHARLIE PICKARD Highvalue background ear)LIGHT: MATTE REFLECTED LIGHT ‘One final effect toexplore inourdiscussion ‘of matte surface shading isthe effect of reflecedlight (alse knownas bounce ight) Thisis what we all ightthatisreflected off thesurroundingenvironmentand bounces Dbckento ur form, Thislight is thought of separately from the general ambient light, asitbehavesinamuch more direct way. ‘The most important fat wo remember abo ced light is that, by ts natures Possible local color it can neve brightness of the primary ght sour While « main lght source is often so bright ts feu to look will generally reach that level of rightness directly no surface When we think of direct light, we amber that it is As discussed on page 101, this means that fs subject to the “inverse square law" and drop off exponentily. As these are extremely weak light sources compared t natural sunlight, their effects will all of Ito general ambience very quickly So, lik ‘ur previouly discussed ambient oclusion we can think of reflected light n terms ofits relative closeness ro our forms. will oxy be strongly observable when our form is Jose tothe igh efacting surface (80) While reflected light can be an extremely fective nd beautiful way to communica form in the shadows of our work, it i lmportant to not overtate it effect, Due f ‘common causes of trouble in students work 04, reflected light is one ofthe most tis ofen depicted as impossibly bright destroys unified valve roups and wreaks havoc of light effets, Remember that reflected light i subt ust always remain within the limite ofthe sdow vue group. no In image 4, you can see how much n gradually deepening the values confusion i created and atmosphere is lost the reflected light instead of adn when the reflected lights are 10 bright ~ brightness to achieve the effect (82), As they are brighter than the shadow group, — this method is simply adding darkness, and even brighter than the light areas. One impossible for the relectd light values to way to avoid this problem is by seating the exit the values ofthe shadow group. Ian image in a higher ey, with slightly brighter extremely effective and practical approach shadows than we intend to end with, commont Cee light source = weak reins ees ered preter used by paintersLIGHT: MATTE THE COLOR OF SHADOWS [Now that we have discussed how color ‘operates fn matte surface shading. we can explore the colors of shadows and what causes them, One commonly held ides among artists is that “warm light = cool shadows, cool light = warm shadows: ‘This idea is useful for certain subjects and designs, but i+ not entirely accurate to how shadows atually work. Tn mage #3, you can see the same object lity de same warm ight source in three ferent environment, including one blue ge (warm). The color changes entirely with the color of the environment "The be example fllows the warm ight = coo shadows" rule, bur the orange example fips this entirely. with 2 warm light and en sol” mile ie often not ing 10 work for us, we need a more sccurate guide to work with, As we have already discussed, shadows are defined by not being struck by the direct light source, snd wil only be kt by the enviroment “Amba NGHO|S ovr new general rue will be: Te colorf the shadow wil be the color ofthe envionment ambient light The “warm light = cool shadows" formula primal painted outdoors and as 2 rile for landscapes works very wel. Outdoor shadows often appear extremely bue gust the warm light of the sun, bat i sortant +o understand the real reason tehind this The Whe sky emits 2 strong romatie ue ambient ight that wil slays be felt on the environments upward facing planes We can se this in image, ‘where the Blu light ofthe sky and rected ren lightof the gas are clearly visible on {he upward and dowonard facing planes of avhiteall warm ight ‘cool shadows {obeys rule) Warm light shadows (teak rule) Shadows take on the ambient ‘environment colorCHARLIE PICKARD facing blue sky nderful panting by Joaquin Soria (8). @ Peres acing down to warm ground © sinh rectionLIGHT: MATTE GLOBAL ILLUMINATION ‘This idea of considering every surface in the scene as its own light source, emitting light ofits own local colo, is ealled “global lamination iasDprogrmaThisconcept 2 ‘can add e huge amount of realism to the ‘scene, as you can seein images6, mmCool white skylight comes: Warm gray surface absorbs ‘more cool light than warm ILLUMINATING OUR SHADOWS {is also important fr us to consider how hese colored lights wil interact in. our shadows Many people thnk ofthe light rays fering surface and “picking up" the color sfthat surface then carrying that color into he shadow. While this idea will gnerally frock. its important o recognize that these Bounced colors will mix ins fundamentally Brace way: Light is most complete as Site ant with each maces iteration, CHARLIE PICKARD 7 n20hn Sina in Warm white light comes in ‘rm tay 93509, Warm gray surface absorbs arvareura snc ‘more cool ight than warm Sara ervene bounce the groan Resulting warm light is reflected ‘onto warm gray again ‘more and more colors wil be absorbed out of this complete waite, As we lesmed on ‘page 105, the more chromatic the color tha we see, the more slated the wavelength of ‘height This subtractive nature affects how ‘he resulting colors mix, Notably, ow-chroma colors relecting into smilarhued, lowchroma shadows will intensify in chroma significantly. This is because, throughout both interaetions the lights colder colors are edited out of the light. as you can se in image #7. Since we fet twice as much editing ou f the colder colors, we get tree at much chroma in the ‘warmer coors, However. if cold coor is reflected onto a ‘warm surface, the shadow colo wil darken signin This s because while the same mount of cool lights being absorbed there 'sles red light o be reflected, resulting ina darker color.LIGHT: MATTE LIGHT SOURCE TEMPERATURE (One challenge in understanding how light sources work, both when we buy Lighting equipmentanderestepainting knowing. how the concept of color temperature latest light sources Lucilyforus, most Light sources aze not oo complex in color 10.000 K ‘existing onapredictablespeccrumof warm reds tocol Blues, with balanced whites in the middle. These light temperatures are measured inelvin feats eet Creed the leer K, with low values indicating warmer orange colorsand high values being the colder blue color. On this spectra candlelight falls below 2,000, days is around 5000-5000 K, and blue skylight 10,000 Kor higher. You may be suprisad that thiemessurement sounds counterinuive ~ chat as. the temperature of thelight source goes up the colors appear cooler and bluer. This can way to remember itso look ata Dame ~a low-temperature lame such asa candle has cole inthe low orange range, and a th snore powerful fame, moves into the blue sng (89) The types of lights that conform seanured in kelvin ~via ly emis, colors are called “blackbody radiators” ~ _ we an see that thelater peaks in thecent abnanced white types of object that emit Ught when heated white instead of the chromatic greens Ss thatthe colors = and are the most common types of light Hence we wouldnt typically see a hot am ctaroma a they move twa source that we wil ee in both natural and glowing green In Image 90, we can see this p g these of color mapped onto the ° hey broadh sible color If we compare the fall extent of the spectrum (the blueCHARLIE PICKARD © Faitcolorspectrum eaten oe | nn | ———— | 400m Uttraviotet Gamma cmamstances, such as afta colored mae Keays Infrared odio waves bulbs. However, this does leave ws with questions. Why does this happen? What lam ata tom, jen ie on tur the green into white? Why do we not see violet lights? In onder to explain this, we will need to Tenow a lide about the physics of what ie happening. Primarily, the new ides that te must now remember is that alight i sctually radiation. As you may remember from page 48, che section of radiation that ‘we can actually se san extremely narrow Dand ofthe ful range of wavelengths. There fare many other wavelengths of radiation, such as ultraviolet and infrared light Which are below and above the range of ‘nanometers nm) our eyes can se)LIGHT: MATTE | BLACKBODY RADIATORS Let's look a litle deeper into “blackbody radlatorn” the proper term for these ‘commonplace light sources. Most light sources are actually emitng radiation all cross this spectrum, to varying degrees, ‘mainly predictable ways We can see how ‘this general distribution occurs below in images, We don't need to know exactly how this fears, but having more context § used ‘o remind us of the full electromagnetic specsrum beyond just the visible light that 1wesee As you may remember from page 48 ofthe Color chapter, when we are dealing Energy intensity with ight soures, they are rarely emitting just one wavelength but will always be cemiting some level of every calor. We can also see chat the energy of thelight source increases thigh kelvin, getting colder in colo thepeakof this curve movestothelet toward Vie. In order to see why this causes the color temperature of ight soures let's follow this curve up through the energy levels just inthe visible spectrum. Fst Jets look at a low-energy light source (93) This might bean old halogen-style bulb fa weak fire, We cen see immadinaly just from the sloping shape, that there isa huge @ coottigne 19000) O wire igh (6,000 @ warmiighe 1.000 6) Uitraviolet(<400nm, Visible light Infrared (700 nm, higher eneroy) (400-700 nm) lower energy) imbalance of colors toward the warmer nd ofthe spectrum. resulting ina strongly ‘warm, orange light source color. ‘Now les observe the light source maving to amecium energy. peaking morein the green (00, We can see that while ifs certainly peaking in green there is fair balance of all the various colors avallable in the light We know shat light mines adel, and ‘when an equal amount of lights mix, we see white ~ this s why we perceive this “green” peaking light as white instead. Tis is also ‘he balance of light emitted by the sun, so ur epesare adapted to detect itCHARLIE PICKARD Eneray intensity Uttraviolet (<400 nm, Visible tight Infrared 700 nem, higher eneray) (400-700 nm) lower energy) Eneray intensity O Ultraviolet (<400 nm, Visible tight Infrared (2700 nm, higher energy) (400-700 nem) lower energy) 196 a meciumenery taht source pean geen wich mies ney t2See pee eee ia farther we once agin se ro isin the tance of clo ths tne toward he bloe (9. However, while hie mimics he range light sores shape, there alo sich more light preten:a this higher nergy. Therefore, thi type ofa source vl noc general be as strona colored 1 the warmer lights. This siting of he carves peak could continue beyond what Shown ere Hower, n oder to crete 3 higheneray light biased toward violet. che @ fe a donot ted an infin amon of ery which 98 Abichenesy tt source sesiainthe bsrange wth shah mn over Intensity loca exit in nature. This ie why we don't Ultraviolet (<400 nm, Visible light Infrared (6700 nm, se natural viet light sources. higher eneray) (600-700 nm) lower eneray) LIMITED-COLOR LIGHT SOURCES 960 create Wile this is generally ow most light srentsht mite sources that we observe will work, it is resertlethis Jmportant to recognize that these are not ingraohform {he only kinds of light source that exis. ‘We know this simply by looking at taf om light However, this does tell us that such = eae outer, '@ icepeeeeee Saeeeee Se) cae res ae Se ee cere also how RGB LED light soures work, with peaks in three colors rather than a balance ofsllcolorshrough the spectrum (960). 96byrc2 1D lar peste ‘Theseariicialylimitedlightsourcesalsodo inte cae not return colors except the oes theyemit~ soarange of multicolored object revealed Energy ‘under one of chese limited lights, would ‘intensity ‘only show colors with content matching the Iights color. As well see nex, stempting @ to photograph o fm a subjec under these Iumied ght an lead wo problems i the @ ® returned image Ultraviolet (<400nm, Visible ight Infrared (2700 nm, higher eneray) {400-700 nm) lower energy)n fc, no ght wil perfectly conform to this theoretical blackbody eure - not een the sun, Every light source wil have some fips in the colors that it can return. Th curves generally called its Color Rendering Index (CRD. This CRI number ie general co check winen buying new light sources for what we want use in an artist's studio. Mest good-quality lights liein the 90+ CR range, with 00 being the maximur, The CRI and temperature of the light source are the two most important considerations when purchasing lighting ‘equipment for an artist’ workspace So our most impo observing ight source iso ask ourselves consideration. w whether we are observing warm, coo, or Dalanced light. This at raturaly do 30 much work to adhst to Ak to work out in Aifferen ght sources, The easiest way 10 evaluate our rng with cersinny ito er Color Rendon Cha exvironment lig Gomerimes called a Macbeth chart). This fs a series of colors in simple = photographing the chart in out lighting siruation, we can get definite sense of what es. By type of ight we are working under. Tothe right wecan sea chart photographed under a few of these differen light sources (Observe how the colors returned 0 our eye change under these different lights (97. Warm light Red light Magenta light White lights Bolanced white ight Primary-colored lights Creen light Secondary-colored lights Yellow tight Coal light Blue light cyan lightLIGHT: MATTE THE PROGRESS OF A DAY Now you are familar with the concept of light temperature, but there ie one final, ‘most important arpect ofthe subject that ‘we need to cover: The color of daylight and how it appears to change throughout the day. While the effects of natural light are hugely varable and should always be observed for themselves i is useful for us tw have a working model forthe types of Aaylightwe will usually be presented with. ‘We may thnk of sunlight as yellow, but i {s actually white in space, As it enter our atmosphere the Bue light is scattered and becomes the Bluesky, 2s well cove in more deal on page 14, Duet tis, on earth we ‘wll generally see the sum a8 & war ight against coo Blue skylight ‘Weleared on page 100 thatthe suns far ‘rom us that ican esentially be tested as ‘infinitely faraway. Therefore, we can treat the ight rays coming fom it 28 funcional ‘parallel, making the sun the most perfectly Aireclight soureesvalabe tous, with none of thefallof of our own local ght (98. On page 94, we also spoke about the relationship between the width of a light source and how direct or diffuse @ ight source is Since the sky is as wide a light source ais possible, the light st give off ‘an be thought of as the most diffuse light ‘we have access to The light from the sky i considerably weakor than diet sunlight, ‘ot inluence will generally only be fel in the shadows outside, leading tothe “warm light =coo shadows" relationship that many painters lowe, @ vierm sunigne pertect ect ih) © cool skytight (perfectly diffuse light) Sect fant ond ght ane t prety ue Gah oie tou Sunlight (warm) Sky (e001)CHARLIE PICKARD ‘SHIFTING SUNLIGHT (69). You might notice i af colors follows the blackbody radiation ding to more blue light geting scartered igh (200) Most of us haLicht: MATTE SR are OVERCAST DAYS Another common type of di bserve is the cloudy or overcast day. As anyone who has eve flown in an airplane ‘an attest, the earm light of the sun and hat we will ‘lu light ofthe sky ae sll presen above the clouds We can think of clude as being a recombination of these two lights back {nto the white light ofthe un. Due to this, overcast days provide the most balanced ‘white lghe source we will generally observe innatue 10. Since thesun s mostly or completely hidden by clouds, overeast light is allo the most perfectly diffse light source we have access to. As these layers of clouds become thicker and denser, more of the light wil be lost in the lou dascening his ight unt i finally raingand we rtm toa sunay day (102), Due to the balanced nature ofthis light objects within s will generally just Alsplay thet many ARE Many arts employ this ax useful fundamental basis for how they understand lighting. If overcast lighting i ell understood we can simply chrow any different kind of light source we want for ur plece onto ms cman, anti localclr ona atc erty se ne Ld’ look again at Stanhope Forbes A Fish Sale on a Cornish Beach (1885-85) os an ‘example (03) Note the graph, simple lca colors that ke displays, withthe colors only foucing gradually darker ae the fram face downward. Overeat lighting can be one of ‘the most suble and beatiful types of ight, oflen favorite of sili aries. MOONLIGHT All days finally move into the night. The ‘most obvious thing that we can say bout this situation is that it $6 considerably arker than the day, only being lit by the ‘moon. However. ne thing that people do nat ‘generally appreciate abou cis Hight is that ‘ets fundamentally the same form of lightLIGHT: SPECULAR ee eee ed forartstsnew and old. However. like everything else so far, Pees eee eet eee Teer Se ee ee eee eneetLIGHT: SPECULAR SPECULAR REFLECTION Now that we have fully discussed the ‘mechanisms and logie behind dlfuse reflection and matte surfaces, let's swith gears and talk about the other moet common light intersetion: specular reflection (01). This form of reflection fs ofen undervalued and thought of as fringe case by students. However important to realize that all diffusely reflecting objects will exhibit someleve of specular reflection, too. ‘This has a profound effect on the colors wwe observe in every scene we represent, so its important that we have @ thorough understanding of the logle of specular reflection. This lope wl be fundamentally diferene from the difuse reflection we iacvned previouly = many of there we have leamed so frill ot apy ‘Tae most obvious difference is that spew objects do nor exhib shadows. You cannot asta shadow ona purely specularobject As you can se in 02, the values of the miror fare the came within the cast shadow as they are in fll ight, This i because of the iret, ‘most important loge of how we will think about specular reflections Specular objects ‘ll dep an image of ther surroundings, This image will be reflected at the same angle (relative to the normal of the plane 5 It struck the plane with (09) Tis basle Ses wl form the entirety of hw we think about this typeof material Since the ght never enters che objet, ‘her sno inuence from the local color of the object. and the colors ofthe reection are entirely decided by the environment. Therefore, when tryingto represent specular reflections, ifs more important to consider {he surroundings than the object isle. Specular rections on mare complex forms will just be a deformation of this simple {mage idea. T learn how wo work with these more complex forms, as always, we ill tart by discussing how o tackle the problems on cour simple fundamental forms of the cube, cringe, and spbere. Before weget into that. welltakealookatthe ‘cet snple,planae version of tie problem and something we wil al be falar with the mirrorObject casting shadow NormalLIGHT: SPECULAR THE MIRROR 1m order to fully understand how we con approach mirrors, le’ fist fllow the path ‘of a mirror through a simple 90-degree rotation, so we can see for ourselves how specalar reflection affects the image we see Init(06-10) ‘These colored dominos are arranged in a “dock fae” formation, with each “how representing 30 degrees This wil enable us to track exactly what we are seeing in the mire. The mirror is in the center of the circle. with a red ine indicating sts normal fn the diagram. The reflections angle is Indieated by the blue line from the camera (our point of view! O degrees When the miror i at © degrees! vation, front on, we gota direct bu Ripped reflection of our postion, Everyone who has Jookedin amierewil betginaely female ‘with his should easily make sense (06) 35 degrees. Rotting the minor othe ‘degree positon slighty increases the range of dominos visble to us. The red 30-dagree domino is now cental in the reflection, and we can see part of the neighboring orange domino (0 30degrees lwerotatethe mirror 30 degrees ‘way from us, we can se a greater effect on the reflection. The angle of the refection doubles, which wall remain consistent for every angle though the miror's normal is facing the red 30-degree domino, we don't te i, insead seeing shead to the yellow Go-degree domino (06) Anal ewer @ @ ® @ @ © @ 30 4s «0 90 0 us 150 (66 Waterers el ret einen i ei 008 2:50 4n9r05 uo bgin tse eipets tet ream beni tne mina nese “AS degres.Ac45 degrees rtaton,ourangle angleisakeyskillinorientingoursehes and periphery of the mirror plane A common oubles again This shows usan image of90 workingoutwhich parte oftheenvironment student mistake isto assume that if we can egrees,or directly tcheright of our mlzor we will se reflected (07, sce the fron of our mirror plane the miror the green “three o'clock” domino. This will smustalsobe reflecting something infront of beacruicalangleforuswhenweworkasitis 60 degree. If wo rotate the mirror to GO i, Sesing this angle dispels that idea (08). thefirstanglewherewecan'tseean imageot degrees, we begin to see the light blue ‘heenvironment behind us Kdetiving this domino, even though i€e in the extremeLIGHT: SPECULAR 75 degrees, Uf sve continue rotating the minor 10 75 degrees, che previous phenomenon becomes even clearer. We don't see a reflection of the orange, yellow, and green dominos that areinfroncoftheof ‘he miror plane a all Instead, we ean only see the rear dark blue domino (0) 90 degrees f we rotate to our final postion, ‘wecan now clearly see pas the miro plane to whatis behind ur mirvor Thisleas us to the conclusion that everything that we can se that is not blocked by the leror wil be refleeted by tat some angle (10, The most important knowledge to take forward from thie reries of images i Ifthe mirorisanged more directly toward us the reflected image wil show what’ in frat of the poston ofthe miror. When the mirror asses through 45 degrees, this changes. and as the mirror continues to turn away from us the reflected image wil begin to show ‘whats beyond or “behind” the position of the mirorCONSTRUCTING THE MIRROR, PART 1 Now that we understand the relevance important for all drawing The more you angles, we have an easy way to work out the of the angle of our mirror plane, and that can understand i, the beter you will be orientation of any plane ‘he 65-dogree angle x the most important able to work ina three-dimenstonal space. to orient ourselves, we need an intuitive However there is a useful, simple method The angles we want to understand here are ‘method for working out what this angle we can appiytobe ure the orientation of thesame angles welooked atom the previous Imourimages. ‘urmirrr plane. through the use of elipses. pages, transitioning from fully fronton to perpendicular to our vision (1-15) Ws imporant to note that while it not Elipses are circles put into perspective. If covered inthisbook,perspectiveisincreditly we know what ellipses look like at few key i “& 7 a Bia 5 cores nee revere feshrrinicing bout tothe ips The wl be ory oerzton atLIGHT: SPECULAR Ve srcosegern tart tose sient ‘tfc in th suroundngenvtonent 1S once e ach ne sO-cesee PLACING AN ELLIPSE GUIDE Hf we can remember these rough elipee degrees, we can work out the approximate angle of the plane we are looking st by finding the degree ofthe ellipse tha fs on ‘the plane, This i an incredibly Gexible and practical way to figure out our reflections rr 90 degrees Flat elipee without delving into more complex perspective calculations Tris important to note that this method will only work on squsreproportoned planes, 0 that our circle is placed within another evenly proportioned shape and we can cleanly see how its angle changes ‘As we will rarely be dealing with perfectly square mirror planes an easy workaround Isselctinga square pordon within the plane and finding the ellipse for that. We can see ‘how this would wok in images 163-6 very Plane has a square plane somewhere within it so this method wil wore well for usLIGHT: SPECULAR PLACING THE REFLECTION Now that we havea way of working out the approximate orlentation of our minor, ‘we need a way to map reflections onto I. “We kmow roughly where those reflections Should be, but how do we aewaly place them onto our mirror plane? THE MIRROR WORLD e's begin by looking at a mountain range reflected in a ealm lke (17. This example is ‘sel because he lrge lake canbe seen asa functionally infinite mirror that we know i facto the ground plane ofthe image If we look a the reflection ofthe mountain ranges, which are also effectively infinitely distant, we can lear two extremely useful lesions. The first lesson is that these reflections lino ups paral ines shown tn blue below). These lines are perfectiy vertical perpendicular to our mirror plane (he lake. This is dhe “normal” ofthe plane, as covered on page 70.So our first eson is The rected image on a plane wil always been line with the normal ofthe plane sch of these reflscrons tying along the normals are the exact same distance from the horizon (in re below) as the real mountain The reflection appear as a simple fipped image of the mountains, ffving us our second lesson: The reflected image willbe a mirrored image of the real objet, equidistant from the places touches the mirror plane. This reflec bethought of sits own physical space, with cach object reflected atthe same distance {nto the “mirror world’ as Its real-world Alstance frm the mi THE MIRROR’S POINT OF VIEW Walle the reflected mountains teem lke an exacly flipped image, this Is parly a simplification due to the shoer distance of the mountains fr us asthe viewer. Lees investigate this by looking a spl object ting ona simple mirror). We ean see the same two rales we Jeamed ace sll true, The micro still reflects anImage slong the normal of the plane, and this image is still equidistant from the point of contaet with the mirror plane Howerer, youcan se thatthe reflected imageis notan exact ‘Ripped duplicsteoftheeve cylinder ‘This i because che reflection we are seeing {the cinder from the pot of view of the ‘micrr plane. Thus were sing more of the underside of the cylinder, instead of the ‘op plane that we see in the rue cpinder “The reflcced image has ls own perspective Independent of the orignal objet. Knowing that this reflected image wil have fnew perspective is incredibly important for us going forvard, because it means each new releced image we paint must be considered carefily. To paint a scene omtaining mirrors and to know how to represent reflections from any angle, we ‘need a fll enough understanding of how to place ourselvesin the scene EXTENDING THE MIRROR So fac, we have only dealt with subjects Aisecily in contact with our mirror surface, “However, this won't always be the ease in ‘our images, so we need another solution for placing reflections Luckily, this is 2 simple ‘problem to salve. “As you can 0 in image 19, the reection basicaly works inthe same way ~ we jost arent scing the ent intrection. To find solution to this, all we nee to dois Imagine an extension of the miro plane Jehownin ble) hat meets the surface ofthe ‘bj, and then projet our reflected image exactly the same way a before When we pt the image, we sinly pain only the “equred portion ofthe vsberefecion, Flowever, you may notice another problem: “This solution only works if the refected ‘ebjec ssl in contact withthe extended ‘ior plane, What if this isnt the eas, ce “te ating cylinder in image 202 We can ‘eve this problem in a similar way, except this time by extending the object down to rmeetthe mirror plane. Oncethisis done the same logic sill works ~the relevant portion ofthe rected cylinder ie simply the same Aistance inc the “mirror worl” asthe real colinde ie aeay fom the mirror plane A Wa re rateced sje ata dupte le lace tectinn const one mia ane Through either of these methods, or a combination of the two, you can work out the selection far any planar mirror image ‘This “projecting” ino the mirror space wll be the most common skill we will use in creating rections.LIGHT: SPECULAR CONSTRUCTING THE MIRROR, PART 2 [Now that we understand the basiclopicat__We will go though some simple tepe to round plane (Qta-, We will then look a play when we onstructamiror le'shave constrict a mirorin abasic stil life scene, ow to capture a more dificult reflection, lookathowthismightplayoutpracticall, with the minor simply standing on the withthe mirror angled above the scene ee Se + a ia ea een ae ae eee eee aneCHARLIE PICKARD Line down of object Connect the wo Line down surface of mirror plane — extend guidelines Into mirror Find halfway height point Draw diagonally through middle mark to find distance of reflectad object's centerLIGHT: SPECULAR REFLECTING MORE COMPLEX ANGLES Nowletsseohow we would apply thissimple method to more complex angle. While the Shape that we need ta micro here i slightly more challenging, due to the unusual angle ofthe mirror, che fundamental loge isthe same We can use the same basi method t insert a mirror plane at any ange into an Image and projact a relecon onto i rom objets inthe scene (228-g) This will work for any miror angle that is directly relecting something in the 12ae band ene miner out ond down how ne ovironment (any angle smaller than 45 8 WF we are dealing with angles reflecting something outside ofthe image ‘pcg, the miror will stl refet something along the line of the normal ~ i would just require more planning and visualieation of the scenery outside the canvas,CHARLIE PICKARDLIGHT: SPECULAR ‘the space to orient yourself n the exercise,CURVED MIRRORS Before we move into the specular fundamental forms, there is one more aspect of specular logic that we need to understand: The deformation of our reflected image when we are not dealing with aperfectly at mirror. THE CONVEX MIRROR First, lets start with an ordinary miror plane and see how a simple image changes when we make the miror gradually more convex (bending outward, like the ouside of sphere On a far plane the light ray Dounce back ous directly and soweobserre san undistorted relecon of our ubject (4), AAs we add convex curvature to the miror, ‘we begin o see a pronounced distortion af this reflected image G3). We can se clearly | ‘hat the mage reflected in our mizror plane 24 Teundetedr¥tacton of single scne ona fiat mir plane. Sssquashed along the plane we have curved, seslting inthe cylinders appearing thinner and doser together This distortion wil be true forall convex surfices when they eflct an image ey 25 ona stacy ccven minor. terete moge bape tosnuah length cred pie,‘The reason for this distortion becomes clear if we look at @ simplified version of this imeraction (2) 1f we project parallel light rays onto a Mat miror chey bounce straight back to where thay started, I we do ‘the same fora convex mirror hawever, the light ays spread out once reflected, More of the environment is able to be taken in and reflected bythe convex mirror, causing the mage wo squash of everything in In images 27 and 26 we can see what happens when our mirror has an even a Lighter convex, incressing the distortion convex mirror Jes Important to understand how this tightening of convexity works in realy ‘where no two planes ever move directly nto each other. AS well explore on page 148 there will always be some small convexity on the connecting edge of any two planes on areal object.CHARLIE PICKARDLIGHT: SPECULAR THE CONCAVE MIRROR Now that we understand the effect of convex mirrors on a reflected image, let's have a look atthe effet ofthe opposite curvature the concave plane (curving inward ike the inside of sphere I we first take a Took a the simplietion fn image 29, we can see that this type of curvature has the reverse effet of a convex miror. Instead of the light rays spreading ‘out, they are collacted together. They even meet ata poi, which wel ell the “cal point” of the mirror. The more extreme the mirrors curve, the closer this focal point willbeto the mirror. There willbe marked Aiference im the way a subject distorts depending on its position relative fo this 29 Aconave minor caasghtraytocomerge ans nl poi cl the “Yes pan focal point. When the subject les eloser ro the mirror than the feel point, we can see a distortion that is quite easy to understand in relation to the lst type. I's simply reverse ofthe previous type of distortion: While convex irros squash the image. cancave mirror strech theimage Go) ‘As cur subject approaches the foeal point of ‘the miro, sstetches more and more unt, it reaches the focal pint. When it reaches ‘the focal point, its reflection takes up the centre ofthe reflected space (0. Beyond this poin the interaction begins to change ‘When objects are beyond the focal pon the light rays begin to crossover eachother on ‘he way tothe subject, causing the rected Image tobe flipped, As we can seein image 52, he blu cylinder on theleft now appears fon the right of the mirror, and vice vers for ‘he red cylinder. The distortion of the image In this Sipped interaction also squashes, in the same way a the convex mirror image, rather than being stretchedLIGHT: SPECULAR THE SPECULAR CUBE [Now that we have «full understanding of ‘how to construct mirrors. let's getinto how we render our fundamental shapes in a specular form. Well start as wedi earlier, ‘with de simplest form: the cube Now that we fully understand how to construct a flat mirror plane, the basic reflections on a. specular cube are Just a simple extension of the same method. At its coe, a cube is ust six planes connect ‘togeher, so everything that we hae learned bout planes will apply direc here (3). However as you may remember from page 86, the connections between thse sx planes are never peefecly sharp. If we look closely ‘enough at any cube in rel life there wil slwaysbe someleveof rounding connecting the planes to each other 64), This occurs Yeween intemal planes az well as on external edges 05). De to these rounded connections, every reflected object between the two planes will ‘becontained in the bevel berween them. Due to the extremity of the bend, this refered fmage will be highly compresod, likely appearingas no more than alin of the most contrasting refecte values. (One result ofthis compression atthe edges ofthe cubeisthaspecularhighlighs rend to appearon these bevels between planes since they offer many more opportunities forthe light tobe elected, You can se he results ofthis cleary in image 36, where there are many diferent angles where the edges of ‘the cubes reflect the light, butonly oneangle where the main plana faces reflect it > SS ae 155 Ace const cfs lan to wtich we can enya ur naa rin lana As 2 general rule forall objec highlights tend to occur atthe meeting of two planes. ‘hie rule will be incredibly helpful for us when we work from life or with more complex subjects, and will enable us to add more blievabilty and depth oourforms. This apples not just co basle geometry, but more comples, organic subjects. As ‘we can seein 37, if we isolate the specular Dighilghts and compare chem tothe planar construction ofthe head lof the highlights fccur at the meeting of two planes, both concave and convex. While there are some scenarios where the highlight wil cover an entire plane, these highlighted edges are ‘extremely common and are an inredibly ‘useful too for emphasizing the stractre of nore complex sublecs, whether from lifeor {rom imagination,LIGHT: SPECULAR SPECULAR ESSENTIALS TO REMEMBER efor attempring wo render a asl specular cube les remind oursaves ofa fw simp specular rules The first is that. specular reflections will always be entirdy defined by the environment, 0 will akays be incredibly fmgortant that we have a clear sense objects surroundings It can be useful to draw a zoomedout version of se environment fit, so you can plan it in advance and deasly place the major deren In your mind (38, Fvencualy you won't need te do this, an wal be able to spy imagine the unseen elements ofthe environment but itean behelpful when fist learning to reader specular subjects Secondly, when finding the values of the specular reBecton, remember that there fs always a level of value drop-off on all reflections, so make sure to darken che colors when placing them on your cube (09). When reflecting a colored surface, his dazkening wil follow the colors saturation path (ee page While the valve drop-off wil be slgfcan in most areas of the selection, the light source wil generally be 20 much brighter than the surrounding envisoament that ic willbe far less affected by: this value leat so for chrome surface, we won't se the light souree darken, Remember that the brightness of the light source wil also appear lipped dveto exposure (ee page 24 ‘Tir, while you can cast a shadow onto a reflective object. the objec itself wil still to other surfaces. This means you stil need to consiruct your shadows propesy to place your cubes into the eavionment. These shadows will also cen be reflected by the specular object ‘tse so dont forget to include them (0)ICUBES IN CONTEXT tice constructing some of cic is to place cubes into So grab a reference phe and inser i Try todo this in a m You can do this with an environment you and with as many 4 have painted from imagination orlife fou can, keeping in mind the essential specular SSesys be an important concern, and the havethem handy However,the simplest way nus we ust scused (4),LIGHT: SPECULAR THE SPECULAR SPHERE Now that we have thoroughly discussed the ‘cube l'smove on toournext fundamental fons, the sphere. Everything that we've ready learned about specular surfaces fs til true ~ the reflection wil stil be an Image of the surrounding environment, bat warped around the surface of the sphere, which curves equally in every izection (42) we fallow the path of centerofthesphere anda theexteme ed, we can see winy the reflection spans nearly ‘the entre envionment, The farther away he reflection at the the observer, the more ofthe environment s shown, until we nearly havea 360-depree ‘ew of the surrounding environment (49) 1 i because of this extremely ueefal propery that VEX (visual eects) ats wil often use photographs of chrome spheres as 2 powerful reference for placing invented objets into 8 scene Their rellecions a anexcellet way to gather all the necessary 4 Arefectonne sec ohare wl sho {nformation about the environ 43 necurange oven becomes slr wel Baga Within 45 degrees (reflects object behind us/in front of abject) Beyond 45 degrees (reflects image behind object/n front of us) ‘AB There snctlonctthe phere wl fect ibe 152 nape 4 frat photo Mare Pllon UapCHARLIE PICKARD ‘Now that we know what we are trying to litle of the environment beyond it also represent monphed over the sphere, how — shown. Getting this ight can goa long way can we approach i The distortion that — in improving how we render this materlal son chrome phere ean extreme and complex type of perspective Ceurvlinea” perspective). How can we begin to oxen curseires and our sene? “The frst and most important starting po fn the 45-degree plane. This gives us an exremely use reference point, as reflection (64) that we can easly ide oes us the pertos hari Erenything within this 45degree any be reflecting the image behind the viewer, and everything beyond {will reflec an image of whats behind the sphere (45. This 4s-degree angle will reliably occur three ‘quanes ofthe way out fom the center, ‘every direction on the sphere, s repre bythe rd ice in image 46 Students are ofien surprised at just how far inside the contour this atea lands. In Image 67 we can sce an eror often found in student work The election ofthe red bar is placed directly on the sphere's contour, not considering dhe rest of the stored image reflecied on the sphere. However, in the (orvect version, the red bariatelected about 46 the As-degree wes fhe aphur occur about ew quar a quarer of the way into the spe with ofthe ney ot rr te canter never 153 = UeW Aconmon minh eectig.UGHT: SPECULAR Calculating the comect perspective disorion oF the rection on a specular ‘phere is a complex problem in curvilinear (often called “Beheye?) perspective. (6) Achieving. a perfect reflection can be a ‘cumbersome proces, but thankfully is not often necessary ~ we don't need the reflections in a painting to be absolutely perfect for them o read cleanly 26a specular material! With some experience, we can simply eyeball the curvatures for these orton fn our images However, its worth seeing 2 proper curvilinear perspective grid and tying to use it once or twice for a simple environment, ust to get familia with what these dscorvons do, Feel feet base youre off the gid in mage 49, SPHERES IN CONTEXT ust ike with the specular eube, practicing rendering spheres in an environment i ‘he most fundamental exercise to develop fur understanding of specular reflection "ry to do this with af many environments 5 you can ~ the knowledge guid wall be lnvaluableas we venture into more complex forms. Rendering spheres will be our mos limporant guiding principle for tackling her specular subjects, st is importans to ‘now how 1o render them well ($0) ‘As mentionad forthe cube on page 150, can be useful to constrict some extremely roomedout views of the sumoundingt before geting into the final rendering. to help orient ourselves and develop our ability to visualie the entire scene GD, 14 Oe ee @ 21 he venting pss ees 48 ventea SHARLIE PICKARDLIGHT: SPECULAR COMPLEX SPECULAR FORMS ‘Now that we have discussed how to render specular spheres and cubes, lets combine ‘those shapes into another fundamental form: the cylinder. Unlike with matte surface shading, where rendering 2 cylinder is quite predictable, the specular cylinder has fewer consistent features. THE SPECULAR CYLINDER From what we have learned far, we know that the cylinder will show 2 rection of the surrounding environment warped around its form. We can also deduce that the image will be distorted and squashed along the curved surfice ofthe cylinder but rll appear Bat and clear on th plana ends ‘hat are more cubelke (52). The challenges working out what part ofthe envionment tote two axes will reflect Luckily there isa simple, nnutve saloon co this problem. Since the specular sphere projects an image of almort the entire environment, we can ube it a¢ 2 contr for our cylinders vellections. Based on the ange ofthe cinder, we can simply denny the point of the sphere that corresponds ‘with the oylinder® flat plane, and the strip around it that comesponds with the cyinde's curved plane (531. We can then palat an appropriately distorted or undistorted image ofthe position shown on 156 the specular sphere. Continuing to use this sphere ae guiding reference, wecan paints ‘finder at any angle that we want, keeping ‘hem al consistent tothe environment (4) Infact, we can use thie sphere t orient our reflections for as many diferent forms 36 elie across an image ~Iike with planning atte lighting on page 82, the sphere is our single most useful reference for controlling {his typeof reflection, @ rere: uncictoredimager @ core ttre ase {5B tester mate en sell rfrane shape ¢ Seale 156 ease on tne retrence provided or spec pre. we can ener onder at on angie whe saying me tothe roundingCHARLIE PICKARD SPECULAR DOODLE FORMLIGHT: SPECULAR SPECULAR COLOR CHANGES While 2 specular reflection will slways The easiest way be an image of is surroundings, and this digas by 3 we can recreate this always be the most affected by this sslective ing a Multiply lap ith absorption. In image $7, we can will lw ofthe color observed by us, some specular giving us a convincing elfect for any color weed surfaces can also have diffeentcolored we want (56) The colors in these reflections clectively reflector absorb will generally be 2 related image fered WALUE CHANGES. Aitferent wavelengths own a certain saturation path, but the Alongside this selective color absorption. highlight wll usually be so bright that it reflection, secular surfaces can als simply be the strongest determiner the desired color aver the specular surface, strongly the blue sky reflection is atfected if the specular abject ogo reflecions an One of the most comm nly seen, familiar breaksthrough this I'soften besttoaddthe be more or les effect fleeting lig ‘examples of this kind of colored reflection highlight back in afer applying this general in general Sinsarto how white objets are ‘occurs in gold. The reflections of a gold color fer defined by being the most ecient reflectors objet are tinted yellow because the material ofthe maximum amount of light, a perfect selectively absorbs bu light. reflecting red However this local color will arely totally specular reflector reflects with and green (which additively mix to yellow), cancel qu ll ther color shifts. If we apply maximum efficiency ‘as we learned about on page 52 When thie these color shifts to something specular sppens, what we observe on the specular outdoors, where a grester variety of colors However, “perfec” is theoretical — no surfaces the reflection ofthe surrou mixed subtra chespecular objec, color filtering. The opposing. color will reflective efficiency be observed, you can see chat many of specular ce is 8 perfect eeector in rey with the lcs color of the warm-cool relationships survive this reality, and surfaces vary greatly in thee 8), B57 Therein ctange rat when he objectsCHARLIE PICKARD they Asthe matte-surface local color the object ce darken of exposure that we faster than the light sources In Aiscussed on page 26 light sources are much darken the same rte. bu the lish ou brighter than we can repress raterals - they are orders of magnitude that i takes us a while to neice a ¢ ns, we see the specular information ot with our fo much brighter than everything ele comes into more prominence, This is sige. nectsarly a esl ofthe specular rection brighter than the other elements in the Eventual the only reflections bright actually increasing. but more @ matter of scene. The darker elements ofthe reflected enough to still be ween on the lee efficient contrast. On a darker object, there is less environment will appear to darken much reflectors are ofthe light source itself (58). light drowning out the specular information, This low level of specular reflection is what and therefore the specular highlight stands ect most of the light play, since mane out more pane objects diftusely Rejection ‘har sues them. We can se this in image This leads w toa fnal, useful rule tfllow 59, revisiting the matte spheres from the whenever we combine these two types of previous chapter The spheres specular shading: As a form lightens, relies more a and matte reflections have been isolated on matte surface shading information, and hough the use of polarizing filers and in as it darkens, it relice more on specular the specular Isolation, only the highlight + information. You can see these effects clearly refecte. exhibited cleanly in image 6. - original * Matte isolated Imperfect reflection Lighter local color Darker local color rrr fon matte, ‘on specular, less on specular) less on matte)LIGHT: TRANSPARENCY Sn Lag enter at Ce ee ‘rn our atention to the phenomenon of transparency: light being refracted through a clear material Combining Jmowledge of matte, specular, and traneparent materials eee eee aT ee SeerLIGHT: TRANSPARENCY TRANSPARENT MATERIALS ‘Tianeparent material, at face value, material in front ofthe subjet. the colors One of the most common transparent ‘have an extremely simple logic in their inthe transmiced image become closer and materials we will ind ourseives panting is ‘asic form, With perfectly transparent closer tothe Jocal color of the transparent glass, sole’ take a look a thooe basic ideas ‘material all that we see is whats on the material, unl we can no longer see the at play in this material As you can seein ‘other side of the material However, mo subject onthe other side (02) images 03 nd 06 the light raysat che edgeof ‘material is perfectly tansparent — in ‘he glass have to passthrough more materia really chere will always be some lot of This Ieads us to our frst strategy for inordertogettoour eyes and therefore they lightin every material. communicating depth in transparent darken somewh, ‘materials. The thicker the material we are ‘We can examine the effet of this loss of observing a subjet through, the lower the This loss of light and contrast due tm Ughe by layering transparent sheets on top subject’ contrast with the lea color ofthe thicknes i often the slmpest and most ‘ofeach other infront ofa subject (OM, Every material, While we are primarily seeing a direct way for us to communicate that @ ‘wansparent material when made thick los of contrat, ie important to remember materials transparent. As you can sein the snough, wil become an opaque material that every material wll lose some light and painted glass in image Oe canbe eerie Because ofthis 2s we layer more and more therefore be lightly darker, oo even on its oom, Material becomes Materia cea color [i] ‘more dence and anes opaque ee material getting Material local color [i more dense and thicker opaque£} @ steer oh passes throush a less material in the center)LIGHT: TRANSPARENCY ATMOSPHERIC PERSPECTIVE (One important fact not commonly realized by students is that che air that surrounds us is actually a transparent medium as well. Whenever we observe anything, we perceive it through this transparency. The ‘more ar thatlles between usand an object, ‘he more we eed lonsof contrast, As pater, this means :h§1S8 OF SRE Js our single most important tool for Tommuniesdng depo} is also 2 very exible tool for us to use creatively in our won — al ould” Conceivably be thicker aaywhere in the eavlfenment or an stmospheni fog could roll into a scene 1m Image 06, the two spheres painted with ‘hesume contrast appear similar in distance, fren though one is behind the other. In comparison, when we decrease the contrast as one sphere disappears behind the other, and increas che contrat inthe foreground weseea much stronger larity of depth SCATTERING LIGHT Another intresting aspect of nosphene perspectvels that fs nberenily coo. Tiss because as sunlight enters the atmosphere, the bu (igh-onergy ight is scattered out snd spread over the sky (07, ts eommon to see sunlight represented a yellow or orange, 2d thisis generally rueon Earth, However, sunlight seen from space is entirely white ory appears yellow tous becuse of this scattering of Bue wabelengehs own os “Rayleigh searing’, ‘You have probably observed in real lif that as the sun ses, i€ appears progressively tous This is because ‘tlightenters theamosphere at ashallower srarmer and wat angle, 20 has to move through more of it, ‘hus seatering out even more ofthe bve light You can revisit page 12 10 see more cxample ofthis ‘Same contrast in foreground and background (Difficult to read depth, flattens imege) Increases clarity of depth and ormCHARLIE PICKARD So, due oof an impressive sense of depth and scale. As always, va ‘warm When weviewtheimage in blackand white, element of su esful image, and this colors wl 08 sdvance. The color strips in we canseejusthow much thevalue contrast limiting of contrast in the dist all the value, but ofthescene controlled alongside this essential tots visual depth due this effect. This definitely doesn't mean you can never use warm colors in you backgrounds -as we cov color is primarily about rlationships, so _teearenmenamamseremeessipasamaNENR this"cooiness" i relative and there are may Pi wich kean be ieyresend AERONRNNSERateNS RCRA 2 page 45 all We can se atmosphere perspective put to Sie ei ee OSTC wonderful effect by Djamla Knopf in image ce hove the distant background iscoolerin he, wells much surroundings (in 8 wnen condemn ou col stmesthee ae warm sung gtr i va As cae, goLIGHT: TRANSPARENCY UNDERSTANDING REFRACTION ‘When dealing with transparent materials, Ws essential to know about refraction Refraction is the bending of light that ‘occurs when It moves through materials ‘of varying density, and the distortions ‘hat causes are at play in all transparent ‘materials to some degre, in image 10 we ‘ansee how alight beam bends as itmoves from theair through the las block The easiest way to understand the mechanism behind refraction isto take the Sruplied analogy of a ear diving from & smooth rad directly onto mud. As you cat Tinaglne. Co GRE HES RE ‘he uniform oad thin onthe rougher mud Ifthiscardrivesatanange from thesmooth oad tothe mad one of is wheels wil it thie md efore the other, causing the two ‘heels to move a diferent rate moving wheel wil wing ge its direction (8 Coe peverreetiy peo) ee coe eae acorns CavernsCHARLIE PICKARD One thing to note 18 cose scribed above,The For fat planes the re 3m thisanglof approach, wo te is aio true in reese, wh rail ae iage behind the me perfectly perpendicularto the froma dense medium sles: = ag sgh eo Ge ie ould The level to whic hs abit appears In image 1, the amount B aely for diferent material image shifts increases asthe angleo As the igh few ofthe white tabletop fs fly level Plane turns toside Image shitts toward 167TRANSPARENT PLANES AND FORMS Im order to underetand how refraction distorts an image through 2 transparent plane, les take a look at how an image ‘changes depending on the plane's ‘curvature. In image 15 you can see the ‘We can generally think of this distortion as Similar tothe distortions caused by specular reflections exept reversed. As you can see in image 16, if we project parallel ght rays fata concave transparent plane, they spread ‘out, Just a6 they did for a convex specul plane. This means we can expecta squashed image with this typeof lens Similarly the convex transparent plane creates 2 focal point just asthe concave specular plane did. This causes enlarging and flipping depending on the subjects relationship othe focal point No distortion the subject is loser than the focal pin the image stretches (17) 1 the subject is om the focal point. is stetched over the entire length of *helens (18) Ifthe subjects beyond the focal point ‘es mage appears flipped (19) Using this basic logic, and lestening the disonion toward the center of the plane (where we set fronton we can construct 1 believable len refraction for thse base ‘ypes ofeurvature By combining these dstoron effets with the use of contrast discussed on page 162, we can create convincing distortion and communicate thekness with each of ou fundamental shapes, which will always be four most essential way to understand form, snd volume, If the lens becomes perfectly conver, a in glace sphere, the focal point moves within the form, meaning everything beyond It wil be ippea in every direction. This results in an image thats flipped both horizontally and vertically (20). However, on a cjlinder ‘were the form only fully curves on one tee ra ieee ee curve 2¢ well se on page 173. Dorit worry about geting these reflections completely perfect on more complex forms, ations would quickly become very unwieldy, Those effects are eaclly predictable for the sphere but need to be fet out more intuitively for more complex ‘transparent subjects ashoreLIGHT: TRANSPARENCY SHADOWS AND CAUSTIC LIGHT The shadows cast by transparent materials undergo acoupleot key changes from what wealresdy knove Theirs simple since 8 lot of the light passes straight through the material, the object's shadows willbe significantly lighter than they would be for opeque materials. As the transparent material thickens, the shadows also ‘merease in darks Another new and quite intriguing effect we can obgorwe in trangparent mates is ti” ight. This refers tthe bright spots rented by the concentration of light caused ly the refraction, We can see this in the center ofthe shadow in image at and more strikingly in image 22, here dappled light shines through alas. Ie is important to recognise that these effects il only be si extremely basic forms. Due to all of the ply predicable for bending and concentration of ight in more looking at image 22! Nonetheless, caustic {in light canbe a beau effec to add when ne we represent transparent material, complex objets they wil often very unpredictable ways, as you can im 70TOTAL INTERNAL REFLECTION ‘While understanding refraction wil go a Jong way in representing glass, in order for tuto properly represent planar objects like the cube, we need to understand one more concept total internal reflection. We tend t0 think of refiscion as only Dappening on the outside of material as we spoke about In che specular selection chapter. However, election actully occurs within dense mediums as well Aswe can see in image 23, the blue lines om the bottom of the pool are reflected nthe surface ofthe water above ZB Theft etait efi ‘he reason tis happens is related to our whee thelmapect me pore oe beunced up Drevious concept of refraction, except this Araveling from 2 less-dense medium (ais} one of the wheels will reach the road fnxt Into denser one (ass or water this time This will cause i 1o speedup, altering the Itismoving from waterto az, and voit will path ofthe car in a similar way as before speed up instead of slowing down, ‘except this time moving away from th ormal ofthe plane intend of toward (2). “o understand how thie aes what we see Sod what esas in a reflection, lees rerum Eventually at shallow enough angle o Toouranalogy ofthe car, thistime traveling approach, the cars path will be changed fiom mud (low) to theroad fast, When the enough that it ives straight along the pat far approzches this transition, once again, ofthe transitlon between the road and the CHARLIE PICKARD ‘mud This angles called the “rtcal angle” and it varies depending on the material (25), Again, we dont need to memorize the different angles of specific materials —just lenowing the concep i enough Beyond this critical angle, the path of the car willbe changed enough that ic ends up Aiveringback onc the mud. Tiss what we observe a total internal refection (26, 26 veyondsne tel ana the as pathLIGHT: TRANSPARENCY Refraction from dense to less dense Critical anate 227 ive racing ram dere oem dense med shale een the arse of spec traction Stone sinks into water light gets absorbed) 28 gnc or a9 one skmmng ares ater Sepang ontheHage 27 shows a simpli’ view of each ff these Ineracions occurring In water, bough in reality the diference between bem is far more gradated. However, or our Jporposes, we can simply think ofeach plane [Seiter showing 2 wansmined image or 2 selected one, ‘othe explanation onthe previous pages Bey have flea bit abstract and dificult Be wrap your head around. How can we Sally, procicaly use cur knowledge of focal internal ee Be helpful so relate this concept to the JEemmon experience many of us have of Teving 10 skim stones across seater (28) Bender forthe stone co bounce along the Festace, we need to throw tt ata shallow FSage IF the angle is 100 sep, the stone Pe simply hit she warer and sink. We can Bink oflighc in ansparent materials inthe Bee way. the stone would bounce we see PSetection if t would sink, we see whar's Iebind the material Pi swe understand the logic behind it, we “Sever understand what we're sesing when dook ata transparent cube or any ocher [pier form. In image 29 we can se that (CHARLIE PICKARD @ _retected image there planes are shallow tous) © Teansminas image (ner panes are more perpendicular to us the intemal top plane and bottom plane lsplay this intemal reflection, while the ‘more fronton intemal planes display 2 transmitted Image of what is behind the transparentobject, Combining total intemal reaction with fur previously discussed distortion and lose of contrast ue to depth, we have enough information to paint each of our fundamental forms in chis new mat quality, whether planar or curved (0). 30 re nserenons te ntl eucton Now that wehaveallofthelogictopaint any ‘transparent form into an environment, try it cut Similar othe specular forms, thi type of rendering will change hugely depending on the environment, so inserting the forms ‘nro diferent environments ithe best form of practice, You can do this in your own painted environments or by panting objects ito photograph OD,LIGHT: TRANSPARENCY COLOR CHANGES Transparent materiale can also have specific local colors, which act similarly to what we learned when adding specalar ‘olor on page 158. The local color ats as filter tha the image passes through, 0 ‘the result wil simply be that fmage taken down acolor'ssaturation path G2), Just lke with specular color, the easiest way to achieve this in a digital painting rons that we need to take into correct ‘wanepareney fees ee pre ™% enerally be unaffected by this color fl the ss olored materials, this means that vere he material is thicke It we imply a Multiply layer ont on, x saturation willbe equal throughout — common error a8 shown in image 3. If we of the m transparent materials over ¢ac ther, the filtered light will mic ¢ black, We can se this image 36 with diferent lajered, ight cannot get through, and we Incorrect transparency feet Pe ees