Reading Theme

Midnight Studio
Warm Sepia
Old Parchment
Clean Paper
17px
Chapters
3D Light Study
1. The four basic forms2. The values of light3. Where the light comes from4. Hard light, soft light and distance5. Cast shadows and lamp height6. Portrait lighting patterns7. The planes of the head8. Hands and feet9. The figure and the mass10. Colour, temperature and the second lamp11. Composing a still life with light
VOLUX Academy — 3D Light Study

Colour, temperature and the second lamp

A warm key, a cool fill, and how much of each
Lesson 10 of 11Colour and compositionAcademy and Pro
Overview

Light has colour as well as direction. A warm lamp (orange, like firelight or late sun) and a cool lamp (blue, like shade or moonlight) placed on opposite sides split a face into a warm side and a cool side.

None
45° toward the picture’s left, 35° above · values on the form 32% to 73%

The key is the main lamp; the fill is the weaker one that lifts the shadows. The ratio of key to fill is the mood: strong key, weak fill is dramatic; nearly equal is flat and gentle.

KEY 100
FILL 30
key : fill = 3.3 : 1 · 1.7 stops

Key and weak fill

KEY 80
FILL 80
key : fill = 1.0 : 1 · 0.0 stops

Equal

· · ·
Read the light

What to look for

Key alone: deep shadow side, the strongest drama.
45° toward the picture’s left, 35° above · values on the form 32% to 73%
1

Key alone: deep shadow side, the strongest drama.

FROM ABOVEFROM THE SIDECAMERACAMERA
AZ 45° EL 35°
darkest 32%average 51%brightest 73%lit 53%
A weak cool fill puts blue into the shadow while the lit side stays warm: the colour of the shadow is the colour of the fill.
45° toward the picture’s left, 35° above / 70° toward the picture’s right, 10° above · values on the form 43% to 73%
2

A weak cool fill puts blue into the shadow while the lit side stays warm: the colour of the shadow is the colour of the fill.

FROM ABOVEFROM THE SIDECAMERACAMERA12
L1 AZ 45° EL 35° · L2 AZ -70° EL 10°
darkest 43%average 56%brightest 73%lit 46%
At equal strength the face loses its modelling: colour contrast stays, form contrast is gone.
45° toward the picture’s left, 35° above / 70° toward the picture’s right, 10° above · values on the form 47% to 68%
3

At equal strength the face loses its modelling: colour contrast stays, form contrast is gone.

FROM ABOVEFROM THE SIDECAMERACAMERA12
L1 AZ 45° EL 35° · L2 AZ -70° EL 10°
darkest 47%average 60%brightest 68%lit 70%
Complementary pairs (orange and blue) feel natural because that is how sunlight and sky light behave.
45° toward the picture’s left, 35° above / 70° toward the picture’s right, 10° above · values on the form 43% to 73%
4

Complementary pairs (orange and blue) feel natural because that is how sunlight and sky light behave.

FROM ABOVEFROM THE SIDECAMERACAMERA12
L1 AZ 45° EL 35° · L2 AZ -70° EL 10°
darkest 43%average 56%brightest 73%lit 46%

Slide Key colour from warm to cool and bring up the Fill light. Warm light against cool shadow is the oldest trick for colour in light.

Warm key and cool fill
Warm key and cool fill
· · ·
Set-ups

The set-ups, with numbers

Each card is one lamp position: the picture it makes, a diagram of where the lamp stands (azimuth is measured from the camera: 0° is a lamp at the camera, positive turns it toward the picture’s left, 180° is straight behind; elevation is the angle above the table), and the values measured on the form itself.

Key only
Key onlyFROM ABOVEFROM THE SIDECAMERACAMERA
AZ 45° EL 35°
darkest 32%average 51%brightest 73%lit 53%
Load in the room →
Warm key, cool fill
Warm key, cool fillFROM ABOVEFROM THE SIDECAMERACAMERA12
L1 AZ 45° EL 35° · L2 AZ -70° EL 10°
darkest 43%average 56%brightest 73%lit 46%
Load in the room →
Equal
EqualFROM ABOVEFROM THE SIDECAMERACAMERA12
L1 AZ 45° EL 35° · L2 AZ -70° EL 10°
darkest 47%average 60%brightest 68%lit 70%
Load in the room →
· · ·
Two traditions

In painting and in photography

In painting

Painters have long cooled the shadows when the light is warm. The shadow is not the lit colour made darker: it has its own colour, from the sky or the room.

None
45° toward the picture’s left, 35° above / 70° toward the picture’s right, 10° above · values on the form 43% to 73%
In photography

Tungsten bulbs are warm, daylight is neutral and open shade is bluer. Gels let a photographer put a warm key and a cool fill on the same face.

None
45° toward the picture’s left, 35° above / 70° toward the picture’s right, 10° above · values on the form 47% to 68%
· · ·
In the Light Study Room

Now you

Use lamp 1 as a warm key and lamp 2 as a cool fill from the other side. Slide the fill's Intensity from 0 up to the key's level and watch the shadow side change from black to blue to flat.

Open this lesson in the Light Study Room

The room opens with the shape and the first set-up already loaded, and the same diagram you see here follows your lamp as you move it. Drag the lamp’s marker on the picture, or move it on the pad, and switch between Picture, Light only, Surface and Shadow. Or open it from inside the studio: the Study button in the bottom bar, then Academy lessons. The Light Study Room is a separate classroom for learning light on 3D shapes; when you are ready, “Send to studio” takes the shape into the main editor.

Exercises

  1. Use a warm key and a cool fill at one third of the key's strength. What colour are the shadows?
  2. Raise the fill to equal strength: what do you lose?
  3. Swap the colours: a cool key and a warm fill. Which feels like moonlight, which like a fire?
· · ·
Keep reading

The masters of this idea

← The figure and the massAll lessonsComposing a still life with light →