Three kinds of jew­ellery light­ing ef­fects

ImagineFX: Sci-fi & Fantasy Art magazine - - Imagine Nation -

Once you’ve nailed down the shape and de­sign of your jew­els in flat colour, it’s time to add light. Use a soft, Round brush to paint in the ab­sorbed light. It’s like a soft glow that em­anates from the mid­dle of the jewel. Paint it first be­cause the high­lights al­ways go over it. Next up are the subsurface high­lights. Gem­stones are translu­cent, so you can see be­neath the sur­face to the gem cuts and the ob­ject they’re em­bed­ded in. When light passes through and hits the sur­face on the other side, you get high­lights in a colour sim­i­lar to your stone. The regular high­lights are more straight­for­ward. As al­ways, the high­light will fall on the pre­cise point where your line of sight would bounce up to the light source, as if it were a pen laser. Th­ese high­lights will be in the colour of the light source.

Au­gust 2015

Use el­e­ments to di­rect, or block, the path of the viewer’s eye. Point your el­e­ments to­wards your fo­cal area with dy­namic lines and per­spec­tive (1) and block the flow of view with par­al­lel lines, to di­rect it back from wan­der­ing away (2). In cre­at­ing cin­e­matic key art you have to use the whole com­po­si­tion. Frame it to con­sciously di­rect the viewer’s eye and tell your story in the best pos­si­ble way.

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