Figure 6.6: McCandless lighting.
Figure 6.8: Three-point lighting.
Here is a good
example of a highlight
in nature. In this
example, one could
argue that the key
light is the highlight,
or rim light. Others
may say there is no
key, just a fill and a
Figure 6.13: Complementary tint.
Figure 6.12: Footlight.
Figure 6.11: Sidelight.
In this image, the
from the floor or
road in front of the
man, also filling in
artists might be
tempted to use
ambient intensity —
a big no-no in most
Figure 6.14: Related tint.
Figure 7.2: The LightWave RGB Color Graph Editor.
Figure 8.3: The HSV <--> RGB panel.
Figure 8.4: The Tint & Shade panel.
Figure 8.5: The Wavelength panel.
Figure 8.6: The Kelvin panel.
Figure 11.13: The main light is a distant light with a
color of 255, 255, 255, or pure white. The spotlight has
been set to –50% intensity and has a color of 0, 255, 0,
or pure green. This means that 50% of the green has
been removed from the area where the spotlight is
Figure 11.14: If the spotlight had a positive intensity
value, the shadow area behind the ball would not
receive illumination from the spotlight. Since the
spotlight has a negative intensity value, the shadowed
area behind the ball is not having light removed and
you get a sort of “photo-negative” effect.
Figure 11.15: This checkerboard polygon is lit with a
white distant light. We have added a green negative
spotlight that removes the green, resulting in a
magenta area (magenta is composed of red and blue).
We have also made the shadow of the negative
spotlight red; therefore, red is removed from the
shadowed area, resulting in a cyan colored shadow
(cyan is composed of blue and green).
Figure 12.3: Radiosity types.