There are many situations and opportunities to push your lighting beyond shadow casting which will add a great deal more drama and visual impact.

This scene from The Matrix was sketched in just a few seconds initially with graphite pencil capturing just the figure and the grapple. A deep marker base was then added and the final touch was the lens flare bubbles using Prismacolor pencils and touches of Dr Ph Martins white paint.

This scene of jellyfish was created at the aquarium. I laid down a base of blue markers with a controlled angled stroke. The jellies were then sketched in using white Prismacolor pencil and then more highlights were developed with the pencil before adding final highlights with a whiteout paint pen.

The sketch below is just a small study done with a student to explore values, depth and adding the final light glares and lens flares.

This tail light study was created by laying down some base marker work with
a lighter tone, like Salmon pink or something. Deeper red tones are then pushed in with final depth added with dark brown marker, 80-90% grey markers and final touches with both black and white Prismacolor pencils. Below, you can see how it glows when you add a dark background to frame it. Look for these values in your own scenes. Remember, the specific color is rarely ever important, the values—the spectral contrast range from white to black—is the whole trick!

* Estimate only. See instructor and calendar for specific due dates. Summer Session schedule is more compressed with one week equal to approximately two and half semester weeks.

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©2020 Michael LaForte / Studio LaForte, All Rights Reserved. This site and all work shown here is purely for educational purposes only. Where ever possible student work has been used or original works by Michael LaForte.
Works by professionals found online or in publication are used as instructional aids in student understanding and growth and is credited everywhere possible.