![]() I encourage you to import the Lincoln edge lit.png image from the Zip archive that accompanies this tutorial, scale it and put it next to the shapes, and then with the Selector Tool, right-click on it and choose to lock it (to the page).Press Ctrl+K to Clone (copy) the white face shape and then fill it with solid black, the same as it was originally, but now there is a white duplicate beneath it.This will serve as a highlight shape for the edge-lit composition, see Figure 3. This strongly suggests that a simplified version of his profile will m ore quickly communicate the image and whatever visual message goes along with it.įigure 2: Edge lighting brings drama and simple, direct, yet artistic properties to the subject in the scene you create.With the Selector tool, choose the face shape, and then click the white swatch on the color line. The eye is almost overwhelmed by the amount of visual data and it can actually take a few moments for the audience to realize that this is a bust of Abe Lincoln. You almost don’t need more details of our 16 th President to successfully convey his image in an edge lit treatment.įigure 1 here shows very typical, very bland outdoor lighting on the sculpture of Lincoln. Abraham Lincoln’s profile is highly recognizable by his beard, the shape of his nose, and the tall forehead. ![]() As an example, the download file this month includes an image of a brass bust of a man whose portrait has been on Untied States pennies for as long as I can remember. This formula can be applied to just about any photograph you have of a person as long as they are in side and not full face view. This month you’ll lean a formula, a recipe for drawing edge lit portraits of people. Edge lighting can be particularly effective in designing portraits because of the artistic effect it imbues, teasing, hiding and partially revealing your subject. In addition to the many angles of lighting demonstrated in this month’s video tutorial, there’s an additional one commonly called Edge Lighting.
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