Nov, 9: Light-Surfaces and Effects

• Subsurface Scattering:
• Light enters the skin or any translucent material and spreads out beneath the surface, creating an unmistakable glow. 
•  Three conditions:
• 1. Translucent Flesh
• 2. Small forms
• 3. Backlighting
• 
  
• 
• Color Zones:
• The complexion of a light-skinned face divides into three zones. The forehead is a light golden color. From the forehead to the bottom of the nose is reddish, The zone from the nose to the chin tends toward a bluish, greenish, or grayish color.
• 
  
• 
• A person who has been physically active often gets a stronger dilation, particularly in the cheeks in a diagonal line running from the inside of the eye to the corner of the jaw. 
• Hair Secret:
• hair has always presented a unique challenge to both the traditional and the digital artist. To avoid the stringy look, use big brushes, keep the masses simple, soften the edges, and control the highlights.
• It helps to visualize the masses of hair as a ribbon, the Highlight goes across rather than following the whole length of the strands. 
• 
• Tips:
• Use a large brush
• Keep forms simple
• Try to state the largest masses.
• Transmitted Light:
• When Sunlight travels through a thin, semitransparent material, the light becomes richly colored. The light that bounces off the surface is fairly dull by comparison. A "stained-glass window effect"
• 
• Caustics:
• A drinking glass or a water-filled vase can act as a lens to focus light rays into spots or lines of light. the same effects happen underwater, the result of the undulating waves acting like lenses.
• Caustics are the spots, arcs, wavy bands, of light projected onto a surface by means of refraction or reflection from a curved glass or from waves on water. 
• Specular Reflections:
• An object with a shiny surface is like a mirror reflecting an image of whatever is around it. 
• Light Rays bounce off the surface at the same relative angle that they hit it. 
• 
  
• 
• Rules
• 1. The more reflective the surface, the larger the value range.
• 2. Convex surfaces include a smaller reflection as well as objects in the scene outside the bounds of your composition. 
• 3. Whether traditional or digital, the reflection is a secondary layer added to the modeling already present in the piece.
• Highlights:
• The location of the highlights on the snake show that it is more flat than cylindrical as it squeezes the crocodile. 
• 
• In General, a highlight on any glossy surface is not WHITE but a combination of the source and local color. 
• Color Corona:
• An extremely bright source, such as a setting sun or streetlight, that is surrounded by a region of colorful light. This appears both in human vision and in photography.
• The glow takes on the native color of the source and can be found on refelcted sources such as:
• - streetlights
• -Car headlights
• - solar highlights
• -wet surfaces
• Motion Blur:
• There are two kinds of Blurring:
• 1. Motion Blur- A Form moves rapidly in front of a stationary observer/camera.
• 2.Speed Blur- the Camera tracks alongside a fast moving object. 
• MotionBlur:
• Paint figures and background wet together and then soften edges. 
• Slower drying mediums are better. 
• Crisp edges take away from the motion. 
• To show that the camera is following a middle ground object, then the background should be blurred together. 
• Speed Blur:
• Only the edges perpendicular to the movement are blurred. 
• The lines and objects that are in line with the object in motion should not be blurred. like in the painting above.