Ad­just the Opac­ity and add blur

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I do the same thing for the other stained glass win­dows and the light that’s cast on the floor, al­ways pay­ing at­ten­tion to per­spec­tive lines. If the re­sults are too bright I can soften them in one of two ways: ei­ther by dark­en­ing the win­dow, or play­ing with the Opac­ity and Fill op­tions in the Lay­ers pal­ette. I also ap­ply a Blur fil­ter to the light on the floor.

Tackle the main char­ac­ter

Now I move on to the char­ac­ters. I be­gin with the doomed Thomas Becket. He’s mostly in the shadow that’s cast by the col­umn, so I paint him with de­sat­u­rated and darker colours. He’s lit by the am­bi­ent light, ex­cept for the bright beam that’s pro­jected on to his knees from one of the win­dows. To ac­cen­tu­ate the bright­ness of the beam, I add some re­flected light un­der Becket’s eyes, and on his nose, hands and tu­nic.

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