If you are interested in learning more about light and color than you already have in the Mastering Color course then this page is for you - my way of saying THANKS! for buying my lessons.
If you haven't bought the lessons and been through them yet you'll find some interesting stuff here, but it's really just the icing on the cake. Get the whole cake here: Mastering Color >>
The bonus material is stuff that I didn't have time to put in the Mastering Color course and it's also about how I've used the
learning in this course to further my own paintings. Enjoy.
Like all this free teaching? Help me out - Tell a friend! (The more people who find out about my teaching,
the more teaching I can make for you.)
Your email address
Friend's email address
Bonus #1 - Specular Highlights
What is a specular highlight?
A shiny red object + yellow light = Orange 'diffused highlight'
... PLUS a yellow 'specular highlight'. The term 'specular' means that light is perfectly reflected in a mirror-like way from the light source to the viewer. Many text books wrongly show the specular highlight always being located
in the centre of the highlight area perpendicular to the
light source like this...
...where in fact true specular highlights are always found at the inverse of the angle of incidence.
Since specular highlights are clear reflections of the light source they also happen to tell us the exact color of the light - if we're seeing a perfect reflection that is. The less shiny a surface, the less the specular highlight will display the true color of the light, and the more it will take on the color of the object.
Joaquín Sorolla is renown for his portrayal of golden sunlight throughout many of his scenes. The specular highlights on the wet children and in the little wavelets in the foreground key our eyes to the yellow color of the sunlight.
Specular highlights occur on shiny surfaces such as wet objects, chrome, cherries ,etc. When we see them we understand that the surface is shiny. Compare these two balls - they are exactly the same except for the specular highlight. Amazing the difference it makes to our perception of the surface isn't it?
Here's an interesting video (not mine) about the differences between diffused and specular highlights.
With oil and acrylic paints the specular highlight should go on last of all and be the thickest paint on the canvas so that it will catch the light and really sparkle. With watercolor you have the option of masking it off with masking fluid till the very end or using white gouache mixed with the color of the light and working on top of your watercolor.
Either way, getting the color of the specular highlight and it's placement on the object just right are critical to showing the color of the light and the form and surface texture of your object - so visualize where it's going to go, take a big breath and.... good luck! Oh, and take a good hard look at the edges of it - where is it sharp or smooth?