De­pict­ing the wa­tery peril

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We now come to one of the most im­por­tant parts of the im­age: the waves crash­ing around the boat and the cliffs. By study­ing Ai­va­zovsky’s paint­ings I’m able to es­tab­lish an ef­fec­tive tech­nique for ren­der­ing real­is­tic waves. It’s im­por­tant to take ac­count of the light, and un­der­stand how it scat­ters and dif­fuses through the thin­ner parts of the waves struc­ture. How­ever, I start with the dark­est part of the wave.

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