odysseyroc wrote:Don't think of them as "back lit edge highlights", they're supposed to represent reflective light.
I generally think of lighting in photographic terms, and the easiest way to get that type of lighting is to set up a remote flash very close to and behind the subject.
As a rule, you should you should have a highlight midtone, core shadow and reflected light. Here's an example of what I'm talking about.
I see what you're saying. Thanks for the link. In photographic terms, the examples assume that the object is sitting on a white surface with a white wall close behind. The white wall is providing the reflected back light.
Obviously you don't ALWAYS have to follow that formula, but it's the most basic way of doing things.
In the case of a stage, the floor and wall behind the subject are usually black, thus the subject would be free of reflected back lighting.
When your doing something with such simple coloring, it's really important to pick just the right places to put light and shadow.
Agreed - good light and shadow placement is what made my ninja star design work. It would have been a total flop without proper light.
Your light source isn't real consistent, the head looks to be uplit, while the rest seems to be lit maybe from the side.
I was just noticing that myself. That's why I was having problems lighting the arm correctly - it started in body's light source zone and moved to the head's light source zone. I'm going to redo the shadows on the body so they line up with the face better. I'm also thinking about several different ways I want to try to color it.
In comics, Frank Miller, Mike Mignola, and Eduardo Risso are all really good at finding that balance. Do a GIS for any of those guys, and you'll see what I'm talking about
I'm a big fan of Miller's style, and Mignola simply rocks all the way around. I was really impressed with how they were able to carry his style over to animation in the Adventures of Screw on Head.