The color of the shadow is the sum of all the sources of reflected illumination, combined with the local color of the object itself.

Also, for more detailed examination of things like specular reflection, diffuse reflection, transmitted light, etc., I’d recommend having a look at Improve Your Artwork by Learning to See Light and Shadow.

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Key application areas include the inspection of objects with rounded edges and clear parts, which may be challenging to inspect with traditional backlights due to the lack of contrast. A collimated light allows users to eliminate this effect by providing a narrower illumination angle that stops the light from wrapping around rounded parts. This also means that images of clear parts no longer appear “washed out”. The edges are more clearly defined, and details are seen with improved contrast, leading to high-quality images and increased accuracy.

Most people prefer to draw or paint from locations where the light strikes the form sideways, reasoning that they can get the form to turn better with more of a shadow side…But they are missing something wonderful! Frontal lighting does tend to flatten form, but it gives power to the two-dimensional design instead. It gives your whole picture a striking postery impact.

The connector can be placed on any side of the MBACK+, which can then be set up on any kind of conveyor belts. At the basis of the connector, 2 LED indicators show if the product is powered and if the strobe mode is on. The MBACK+ is perfectly adapted to quality control tasks, such as: presence/absence, edge defects, material lack. It can also be used as a direct diffuse lighting solution, to inspect shiny workpieces.

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https://agnosticui.com/ creator. Freelance illustrator based in Austin. Portfolio: https://roblevin.myportfolio.com/ Commissions: roblevinillustration@gmail.com

Including: brightness level up to 45 kLux*, new connector making it easier and more cost effective to integrate, improved rising and falling times of 15μs and 10μs respectively and custom sizes available in 1cm steps (from 200 x 200mm up to 500 x 500mm or 1000 x 200mm).

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A fill light can be towards a colored reflective surface and the hue of the reflected fill lighting will take on that of which is being reflected — think of light bouncing off of a reflective gel material on to the subject.

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Rob Levin is a freelance illustrator. Portfolio: https://roblevin.myportfolio.com/ For illustration work enquiries, collaboration, or to say hi: roblevinillustration@gmail.com.

If you’re in to film or photography, I’m sure this is nothing new to you. But if you’re coming from more of a drawing or illustration background, some of these lighting techniques just may help you to bring your images to life!

The Black & Light (Bn’L) by TPL Vision offers an innovative solution compatible with most vision applications. When the light is on, it works as a traditional homogeneous backlight, highlighting the shape of objects and creating a uniform silhouette. When it’s off, it becomes a matte black background. This is extremely useful when other illuminations are used, as the black background absorbs scattered light and ensures that panels equipped with white diffusers do not interfere with how light is perceived by the camera.

Please note that all illustrations hereinafter, unless stated otherwise, are the express work of the artist I’m reviewing; I do not take any credit for their works! You can click on the images to visit the artist’s site!

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A spotlight effect can be used to effectively put focus on your composition’s focal point. For example, Malika Favre uses this lighting arrangement quite nicely to dramatically cast light on her protagonist in this Gotham City like night scene:

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Backlights offer high homogeneity surface illumination for silhouette inspection and other machine vision applications, such as liquid fill level and presence/absence. TPL Vision’s backlights are designed to create the best contrast for image processing in strobe or continuous modes. They come with narrow framing and high homogeneity, enabling them to tackle even the most challenging machine vision projects. Illuminate any surface from small 50×50 mm areas to large fields of view, confined spaces to very large surface areas.

Color and Light has some interesting conclusions about reflected light, specifically with regard to outdoor scenes given the sun and sky (warm and cool respectively):

Lighting is a complicated topic and I’ve erred on the side of brevity, so here are some resources I found useful in case you’d like to go deeper:

You’ve probably seen effect with a figure standing in a light drenched hallway, or sun blast. For more examples check out this wikipedia entry.

Previous in series in series: Conceptual Devices. Next in series: Noir. Also, you may like one of my other illustration teardowns.

Rob Levin does technical things by day and illustration by night. You can view his blog at https://developtodesign.com and illustration at: https://www.behance.net/roblevin. Also, you may like to read more of the illustration teardowns articles.

There’s a way to draw or paint a simulated rim light effect manually which is very nicely exemplified in this video by Loish:

Contre Jour — this is a sort of backlighting where the subject almost blocks the light such that the light appears to explode from all sides of the subject:

In order to look at the following lighting techniques, a basic grasp of form principles should be understood. Since this post is inspired by James Gurney’s book, it only seems to make sense to defer to his blog post on this prerequisite background on Light and Form.

Thanks to its thin borders, the new SMALL SBACK II is a backlight both powerful and homogeneous, that perfectly fits confined spaces. Settled under the objects to be controlled, the SMALL SBACK II highlights the global shape of the objects (shadow puppet effect), which enables the verification of possible outline defects and material lacks.

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Jeremy Booth has many more illustrations in this vector noir style well worth perusing—start with his most recent GQ Life Cover in the same vain.

The semi-collimated CMBACK+ is a powerful and very diffuse backlight, dedicated to many machine vision applications. With high powerful LED and specific lenses, it creates a very intense illumination, that helps cameras to clearly see workpieces shapes.

The robust Aluminium casing of the product can be manufactured to sizes from 200 x 200mm up to 900 x 900mm or 1900 x 400mm. This range topping backlight solution is perfect for high speed backlighting applications that require intense luminous flux. Available in Red, White and Infrared, all with extremely high brightness and surface homogeneity of up to 85%. This is the solution for all backlighting applications and quality control tasks, such as: presence/absence, analysing edge defects, liquid fill level measurement and silhouetting.

Light from below in a night scene can imply a sense of horror or evil. Whether this light is coming from a fire, theatre light, or computer screen, we tend to associate this effect with trouble being just around the corner. But it can also be used in more nuanced ways like in this very creative illustration:

A related portrait lighting technique, named after the infamous artist himself, is Rembrandt Lighting. Essentially, one side of the face is illuminated with the other in fairly deep shadow less a small triangle under the eye on the cheek. It’s still popular today as it achieves a sort of dramatic affect:

TPL Vision’s semi-collimated backlight, the CSBACK is the perfect illumination choice for the inspection or measurement of clear plastics and rounded parts. Collimated light by definition has parallel light rays, and therefore spreads minimally as it propagates, helping to create high-contrast images needed for precise edge detection and defect analysis.

Here are some examples he provides on the above linked blog post. It creates an opposite effect to rim lighting (which we’ll soon discuss)—instead of an edge highlight, you get an edge shadow as can be seen in the following:

This product is the next evolution of TPL Vision’s high running MBACK+ Standard product, carrying significant product enhancements.

I’ve saved this as a sort of after thought, as I didn’t bother finding an illustration example of this lighting technique as it’s pretty much used for most portrait shots you’ve already seen as it gives very “even looking” results. The last part of this article even talks about why it may have fallen out of favor due to its formulaic or artificial result that doesn’t quite reflect nature. That said, it’s a standard and not going away, so it’s definitely worthwhile to understand the basics of how it works.

Many machine vision systems use multiple light sources. LED panels equipped with white diffusers can interfere with the camera and reduce the efficiency of other illumination sources by scattering light in unintended directions, creating unwanted reflections, and diminishing contrast, which can compromise the quality of the inspection.

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Equipped with 4 high powerful LEDs, the LED BRICK modules by TPL Vision can be easily  interconnected. You just have to plug few modules of LED BRICK all together to get very large lighting areas, easily upgradable according to the vision application’s features. If you just add an opaque diffuser on the top of the configuration, you get a perfectly homogeneous backlight, very appreciated by machine vision specialists. The LED BRICK lighting solutions can rely on the LED advanced technology at very affordable prices.

Also called edge lighting or backlighting, the notable result of this lighting technique is a sort of fringe of highlight alongside the edge of the subject. If you examine the top illustration I did for this article, you can see I placed a bit of rim light on my subject’s back of neck, with the idea that the light was coming through on that side.

I’ve been reading the seminal book on color and light for artists by James Gurney: Color and Light: A Guide for the Realist Painter, and it has inspired me to do a post on lighting techniques as used in illustration — I hope you enjoy!

Essentially, you start with a dark room and a subject, add a primary light from in front and possibly slight angle. This is the key light. Now you add a light from the side, the fill light, also illuminating the subject, often with lower strength then the key light. It’s main job is to balance the stronger key light’s shaded surfaces, eliminating any dramatic cast shadows. Finally, the back light is placed from behind and, sometimes, slightly to one side or the other of the subject, with the goal of producing a very slight edge highlight to the subject to distinguish from the background from the wikipedia entry: