I suggest watching movies attentively, as they can give you better insight on the tridimensional nature of light.įor the rim light I use an Add (Glow) layer clipped, and I used a mid-range pink for it in this piece. To use it properly you should have a good grasp of the planes on your drawing. Before we get into the blending mode I use for this, let’s just establish that rim light shows mainly and more strongly on dark areas and isn’t something you should go too crazy with. For example, in some compositions rim light could be key for highlighting parts of the drawing that otherwise would be less discernible and can give you a more 3d depth. Some might consider it a thing for later, but I’d rather deal with the quicker and smaller steps because sometimes they give you a clearer vision for the drawing. Now I open up the tab (By default, Ctrl + U, or Edit > Tonal Correction > Hue/Saturation/Luminosity) and change the Hue and the Saturation sliders just a bit, making my shadow a tad more purple. It’s not a question of right or wrong, though, just my personal preference on having a wider range of hues. Using pink as my shadow color is not looking very appealing to me, as the resulting shadow colors is closer to most of the local colors than I’d originally wanted. Even if you can’t perceive it because of the color relationships, her pants are painted with a very desaturated reddish color, not grey, even though it might look cold in comparison with her red kimono. For instance, remember when I said earlier this mode combines the properties of both colors, creating a new, darker one? See, most of this piece’s palette revolves around shades of reddish colors. One of the reasons I go for during the earlier steps of my painting is because I can easily set the ground for later changes while still keeping control over how I want it to be.
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