I asked Aaron months ago if I could analyze a piece of his and he told me yes. Then I proceeded to stop posting. Sorry Aaron. Now that I have picked back up on this, it is time to get Aaron in here. However, I have decided to look at his Agents of Artifice contest, third place winning piece as considering I am currently focusing on lighting, this is far more complex than the other piece I was looking at. (Congratulations again Aaron, BTW) Aaron has some wild lighting going on in this piece. He has multiple light sources going on here, reflected lights, deep shadows and highlights all occuring in night time atmospheric darkness. The major light source appears to be the monster's eye, casting a yellow hue on the angel wings and the monster's hands/fingers. Interestingly, the yellow light appears to be on the opposite site of the left hand fingers than it should be considering the poistion of the light source, yet the illumination on the area is convincing and doesn't look out of place. The green ooze is emitting a yellow/green light which is providing rim light for the left arm and the spear head as well as adding some reflected light into the shadows of the back of the head and tinting the hightlights on the teeth. There are cool blue rim lights on the monster's right hand and some on the teeth, some on her legs and a touch on the back yet none of this light is reaching the edge of the angel's wings. There is a bright highlight on her chest and on the top of the monster's head that like many Rembrandt paintings, doesn't appear to come from anywhere, unless it is the spear head in which the reflected light from her chest and its head is actually brighter than the source. And this light seems to have no effect on the monster's left arm. Yet it works. Moonlight highlights the rain drops as they fall, the red ooze adds warm reflected light into some of the lower shadow areas. At this point in my own painting, I cannot even conceive of trying to tackle a piece with lighting this complicated. Kudos to you and if you are reading Aaron and have anything to add, please chime in.Thursday, June 25, 2009
Aaron Miller
I asked Aaron months ago if I could analyze a piece of his and he told me yes. Then I proceeded to stop posting. Sorry Aaron. Now that I have picked back up on this, it is time to get Aaron in here. However, I have decided to look at his Agents of Artifice contest, third place winning piece as considering I am currently focusing on lighting, this is far more complex than the other piece I was looking at. (Congratulations again Aaron, BTW) Aaron has some wild lighting going on in this piece. He has multiple light sources going on here, reflected lights, deep shadows and highlights all occuring in night time atmospheric darkness. The major light source appears to be the monster's eye, casting a yellow hue on the angel wings and the monster's hands/fingers. Interestingly, the yellow light appears to be on the opposite site of the left hand fingers than it should be considering the poistion of the light source, yet the illumination on the area is convincing and doesn't look out of place. The green ooze is emitting a yellow/green light which is providing rim light for the left arm and the spear head as well as adding some reflected light into the shadows of the back of the head and tinting the hightlights on the teeth. There are cool blue rim lights on the monster's right hand and some on the teeth, some on her legs and a touch on the back yet none of this light is reaching the edge of the angel's wings. There is a bright highlight on her chest and on the top of the monster's head that like many Rembrandt paintings, doesn't appear to come from anywhere, unless it is the spear head in which the reflected light from her chest and its head is actually brighter than the source. And this light seems to have no effect on the monster's left arm. Yet it works. Moonlight highlights the rain drops as they fall, the red ooze adds warm reflected light into some of the lower shadow areas. At this point in my own painting, I cannot even conceive of trying to tackle a piece with lighting this complicated. Kudos to you and if you are reading Aaron and have anything to add, please chime in.
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