TIP 5. Do not use the Burn and Dodge tools to create shadows and light.
The advice is simple. Where it is even easier. Instruments Burn (Dimmer) and Dodge (Clarifier) is equally useful and harmful. It is convenient to use them for creating sharp glare, water droplets, relief, texture, or for special effects, but what exactly you can not do with their help is the shadows and light. Well, if the problem with the light is not so obvious, then the universal use of the Dimmer for the shadows sometimes makes me disheartened. And after all, the artist, sometimes not immediately, understands that everything is so bad. But why bad something? If you are really interested, then read on. Well, if not, just remember: to create shadows, use the same basic brush. Well, in our case, in the first year of life as an artist, this brush is round hard.
So why use Burn badly? The fact is that light and shade, and, in fact, the very color of an object sometimes, under the influence of the environment, acquires a different shade, different from the base one. There are a lot of nuances about shadows, but we’ll talk about this later. Now we only need to know what Burn and Dodge they are not a lifesaver and all they do is change the color saturation while we also need changes in color and lightness, which we will not get at all with this option.
Consider an example of using Burn to create shadows and compare it with shadows created with a hard brush.
As an example, we use the ball already familiar to us (Fig. 2), which we obtained from Fig. 1 by mixing the superimposed base colors. With help Burn we strengthened the shadow, but the light was added with Dodge (Fig.3). Well, in the last figure (Fig. 4), we used additional colors for light and shade, and also used a hard brush.
Now open the color palette and pipette the basic colors of the ball, obtained by the method of Burn and Dodge.
And what do we see? And we see that the shadow has become richer, but that’s all. The range of colors used is critically small. Such works are often called “fried” because they look really, as if slightly roasted drawings in the oven. No “mention” of ambient lighting on our bulb.
Now we arm ourselves again with a pipette and check our colors on the last, correct version.
As you can see, in the light we had seemingly completely imperceptible visually green colors, while the shadow became more red. From the side, the ball looks much richer than before, but there is no feeling of being fried because we tried to do it right. Not perfect, of course, but the essence should be more than clear.
And now let’s digress from the balls and consider the same thing, but using the example of a sketch, which Sandlady kindly provided us (click on the screenshot to view an enlarged version).
Picture 1. This is a basic sketch in which color and light and shade are scattered.
Figure 2. Deciding to show what happens when using a soft brush, Sandlady gently smoothed all the transitions. As a result, we got smooth, flawless skin. But if separately it still looks normal, then with a larger size and detail, we will get just soap soap. All the planes and the texture resulting from the blending of colors disappeared, and just spots of different colors were formed. This is especially noticeable in comparison with Figure 4.
Figure 3. As it usually happens with beginning artists, colors for light and shade are most often taken according to the base. To show this, Sandlady specifically brought all the colors of the drawing to one tone, and then used the Burn tool. As a result, the shadows were filled, but due to the lack of additional colors, we got a fried Asian. Appetizing her obviously can not be called. Rather painful.
Figure 4. Here Sandlady used a solid brush. Because of the many small faces that are obtained through a simple technique of mixing colors, the face looks textural and voluminous. To preserve and raise the contrast, a little bright scarlet was added, which made it possible to enhance the shadows instead of using the Burn tool, and I must say, the result greatly benefits the neighbors.
Summing up, I want to note that the examples given are illustrative, but not completely. On large canvases, all these subtleties become more noticeable. It’s like if a small stain of dirt touches the eye unpleasantly, then a large stain just spoils the whole work. Perhaps now, when you know what exactly leads to the formation of “spots” in the drawings, you will make the right decision in choosing the tools for creating shadows and light in your subsequent masterpieces.