Figure 1.3
Figure 6.3
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 6.10
Figure 6.13: Complementary tint.
Figure 6.12: Footlight.
Figure 6.11: Sidelight.
In this image, the
bounce” light
behaves like
radiosity reflected
from the floor or
road in front of the
man, also filling in
where lesser
experienced lighting
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.

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