Source (directional) Lighting

[monkeyboy30672]

Hey folks! Been a while since I've been on here and been longer since I've painted! Something I have always wanted to learn was source lighting, such as torchlight cast onto a model's face. Any tips or trade secrets on how to do it well?

Obviously, I won't be a master at it, like James Wappel or Victoria Lamb, but any help on how to start practicing it would be GREATLY appreciated! Thanks!

--Dirty Steve.

 

[Dragonsreach]

Something I have always wanted to learn was source lighting, such as torchlight cast onto a model's face. Any tips or trade secrets on how to do it well?

Yes
Practise, Practise, Practise.

But as a starting point, get a friend to hold a candle close, but not too close to their face, in a low light room. Take a picture, mobile phone camera might be best as it might not have a flash and there's your reference picture.
You can work it out by logical application of a printed picture of the mini you want to try it on and a pen.
Start with the source of the light and draw lines to the nearest high points of the model. These will be the brightest point of OSL. After that think of zones of decreasing light on the model the further away or blocked from the light source.

Hope that makes some sense.

 

[Twosoc]

yeah but how do you actually paint it? I've heard washes, drybrusing and layering which works best? I know much will be personal preference but which gives the best results on average? Also do you finish the mini first, full highlighting etc, then do the lighting? I would imagine that the lighting would be done last, even after the base etc.

 

[generulpoleaxe]

http://www.photoworkshop.com/static/lightcage/index.html Fieldarchy gave me the link to this ages ago.


As for best techniques, they are all of use, different painters prefer different techniques to get the same results.
Practice and see what suits your style.

 

[monkeyboy30672]

http://www.photoworkshop.com/static/lightcage/index.html Fieldarchy gave me the link to this ages ago.


As for best techniques, they are all of use, different painters prefer different techniques to get the same results.
Practice and see what suits your style.

Ahh, Fieldarchy... I do love her so...

Thanks for postign the link, Poleaxe!

--Dirty.

 

[cheelfy]

There is also a tutorial in this last's December White Dwarf.

 

[Einion]

My advice for this is similar to how-to questions on NMM and SENMM - study the work of painters and illustrators, see how they do it. A painting lit by lamplight, firelight or candlelight will provide lots of good reference.

A great example of this is the work of Joseph Wright of Derby which I've posted links to before:

An Experiment On A Bird In The Air Pump
An Iron Forge
Iron Forge Viewed From Without
The Blacksmith's Shop

Einion

 

[Avelorn]

It's not that difficult actually. It is easier then it seems. The most common problem that I see (even in tutorials) is that people shade and highlight the light so to speak and do that separately from the surface it shines on (maybe it comes from studying light effects in pitch dark rooms?). Red light on an otherwise lit blue surface will most likely have purple midtones, not dark red or blue

So the basics is to pick the colour of light and mix it with the colour of the surface on where the light shines. However as colours are sometimes tricky to mix and get a pleasant shade (red and green for an obvius example)you might need to some more mixing to get a good colour. Fire makes a bit of an exception though to the pick only one colour of light guideline, because it flickers. Therefore one way of making the effect feel more alive is to add a reddish tint to the edges of the effect like on my chaplain (while this isn't entirely accurate for the subject I used it on, it is in essence a "mirror" effect of the fire).

Technique-wise I think it can be very easy and quick to glaze on bright surfaces (like the eyes of my marines for example) Otherwise use whatever technique you are most comfortable with. And if the reference pictures or guides don't lend you a result you're satisfied with... bend the rules. Who cares if it's not entirely accurate as long as it looks good.

Good luck

 

[Shawn R. L.]

yeah but how do you actually paint it? I've heard washes, drybrusing and layering which works best? I know much will be personal preference but which gives the best results on average? Also do you finish the mini first, full highlighting etc, then do the lighting? I would imagine that the lighting would be done last, even after the base etc.

There's no secret technique, it's more of a process - where you put the paint, hue and tone. Hue and tone are king in doing OSL.....so I'm told. : )

OSL article - http://coolminiornot.com/article/aid/328/orderby/rating

Along with the fantastic pieces Enion posted here's a nice one -

 

[Avelorn]

@Shawn: I've forgotten what an outstanding article that is! Thanks.

 

[Beelzebrush]

A great example of this is the work of Joseph Wright of Derby which I've posted links to before:

An Experiment On A Bird In The Air Pump
An Iron Forge
Iron Forge Viewed From Without
The Blacksmith's Shop

Einion

I love that Joseph Wright painting.... it's in my local gallery. Great reference too!

 

[freakinacage]

http://www.photoworkshop.com/static/lightcage/index.html Fieldarchy gave me the link to this ages ago.

aye very handy