Or as they put it, “no special lighting.” One of the leaders of the movement, Lars von Trier, went on to make Breaking the Waves, arguably the greatest film of the movement (though it did break a few of the rules he had laid out). One of the rules written in the Dogme 95 treatise was a sole reliance on available light. This group of filmmakers created a manifesto disavowing big-budget filmmaking in an attempt to focus on storytelling and direction. And you can use other layers to tinker with the colors and texture in the scene.We can’t talk about ambient light in film without mentioning the Dogme 95 movement. If you want any more lights in the scene, use a "Screen" layer, which acts as a true additive layer. Here is what the lighting layer and the occlusion layer look like when they're both visible on a blank background. I painted in the lit areas with white but switched the layer type to "Overlay" so it would keep my colors.Ħ. I often start with hard edges on everything, like a cel-shaded image, and then I soften the edges where the form curves or I fade out any planes that are trending toward the terminator (I talked about this in another post). If this is a basic character rendering you probably want this lighting to be fairly neutral in color, but a simple warm/cool lighting scheme should be fine. Now, on a new layer, paint in a single light source. Don't be too heavy-handed or feel like you have to render out the entire scene this way!ĥ. I put a white background in so you could see it better. ![]() I'll talk more about occlusion some other time, but basically think of the cracks where the ambient light of the scene can't easily bounce into. On a separate layer, paint the occlusion in. I'll usually have a color scheme in mind in this case I used an analogous scheme (red/orange/yellow/brown)contrasted against a single "compliment" (the blue).Ĥ. Keep the values fairly dark and even-even white surfaces should be a medium gray at this point. On a background layer put in flat colors, like you would if you were painting an animation cel. These next steps can almost be done in any order. Turn the opacity way down so the lines aren't getting in the way of what you're doing.ģ. Pick up the lines as a layer, and switch the layer type to multiply or Gel if you're in Painter. Don't try to design a character as you paint, unless you are really advanced and probably not even then. Once all the lighting is set, the final step is to polish the painting through post-production, the options of which include: over-painting, color adjustment layers, and/or screen effects. Later, they can be adjusted by using the Hue/Saturation window.ĥ. Light is literally painted onto objects with a white brush. Light sources are added, one by one, on Overlay layers above the AO and flat colors. ![]() The values used are darker than what will appear in the final piece - this step is intended to simulate how the scene appears when in shadow.Ĥ. Every element of the painting, from skin to clothing, should be on a separate layer. Flat colors are set beneath the AO layer and painted with an opaque brush. The finished AO layer is set to Multiply.ģ. Slowly work around the piece, fleshing out forms and managing overlap until, eventually, everything occupies a place within the three-dimensional space of the scene. To render AO, use a soft black brush on edges, and then a hard eraser to clean them up. Below that, begin working on the ambient occlusion layer.Ģ. After doing a few thumbnails to explore lighting possibilities for the piece, start off by drawing decently clean line art and reducing the opacity. Applying this technique to the painting process in 2D art: Studies
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