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Edges 2: Finding Edges on the Face

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Transcript

Alright, let's take what we studied about edges and value and apply it to the human face. We're looking for basically four kinds of edges. And you can see right away we'll go from kind of like top to bottom closest to the light and further away from the light, you've got this nice form shadow, it's describing the form very nicely with that soft edge, right. Kind of soft, kind of firm. Here we've got another one. The firm edge goes into a real soft edge right here and goes back to firm.

Same thing in here, all this stuff is form shadow. This says that the object is turning slowly away from the light. Okay. So it's got a soft or firm edge. Showing cheek bone muscle right? Now, in opposite is in opposition to that you have the cast shadow.

And it's if you really look at it, it's quite hard to get rid of that, comparatively. So here we've got soft, and here we've got hard if we really analyze it. Now, what's really interesting is that hard and soft edges or form and cast shadow, follow each other down the figure like twin brothers. Or you could say maybe twin brothers and sisters, right, wherever there's a form shadow, there's going to be a cast shadow. So let's analyze that and look for that. So on this brow ridge right here, it's a form shadow.

It's turning slowly away from the light But right down here on the nose is the cast shadow on the eyes the cast shadow right the cast shadow follows that form shadow form shadow eyelid, cast shadow, light form shadow, all this stuff, form shadow, cast shadow right there. cast shadow is made by the object in front of it blocking the light right of form. So you've got all these form shadows cast shadow, form shadow on this upper lip, moustache, hair and then cast shadow you can see it on that lower lip. Same thing here form shadow, look for the cast shadow whereas here on the neck and look at how Kind of firm and soft, the cast shadow has become here. It's crisp. Okay, we'll look at that in a second.

Alright, so there we go form and cast form. cast shadow anywhere else. I think that's good. Okay, let's look at the cast shadow that here it's really crisp. Let's zoom in a little bit. really crisp right by the philtrum of the nose very close to the object that it's casting the shadow on.

Right so it's crisp, then it gets soft. It's, you know, crisp, gets a little bit of soft. If you play that up, you'll get you can squeeze a lot of information out of your shadows just by that hard versus soft edge. Play, just play with that. Look for it, play it up. Okay here, same thing on the neck.

Hard. Right there close to the chin, and it gets really soft, right? really soft right in here. And it starts to firm up a little bit. It's everywhere. Okay, let's look at another example real quick.

Now this one is, again, the previous one, that single source light. It's describes the form the best. And it's clear, showing, you know the form and showing the different kinds of edges. On this one, it's very soft light, they have a huge 36 inch OtterBox or beauty light, maybe even better. than that 40 something inches. And it's just like she's sitting in front of a window on kind of an overcast day.

So there's, there's nothing hard, right? Nothing's hard. It's all soft, really soft. There's not even a cast shadow below her nose. There's a lot of form but even the cast shadows, a lot of form shadows, but the cast shadows are about the same. So we get a little slight firm here that goes into soft, but this is difficult to do a portrait by it's very soft, very feminine, you know, evokes a certain amount of emotion as opposed to let's say harsher lighting.

So just keep that in mind. This one's there's nothing hard in here except the shadows in her lips. The forms in her upper You know her eyelid and stuff like that. And just the boundary of her head dress against your hair. Those are hard, but everything else is soft. To move on to the next one.

This one's got a lot of variety here. So again we have you know this form shadow of our upper lid, and then the cast shadow right of the eyelash there. Let's just zoom in a little bit. See that? The cast shadow onto the lower lid of her eyelash case. Same thing over here, it's Chris.

Form shadow on that ball of the nose, then that plane is turning away from the light slowly and it goes into shadow all this time. The Shadow right and then that cast shadow pretty crisp. So form soft and hard. twin brother and sister, right form shadow upper lip. And then we get a cast shadow onto the lower lip form shadow of the chin. Here, cast shadow onto the neck like clockwork.

Okay, you can see the nice soft shadow of the cheek. Right? nice, soft, very soft shadow defining that upper plane of the chin and where that jaw turns under and then you can see look at that. Let's look at this report. lected light in here, right here, right? So we've got highlight halftone, dark halftone core shadow.

That's the Terminator. And then right in here, right, we've got reflected light. Did you see that? reflected light right in here and then it goes into the occlusion shadow right there. That's the occlusion shadow. Let's see that how tight that is.

It's in that crease. You'll find the occlusion shadows in the deep shadows or in the creases right there. Where the chin meets the neck. Right chin goes into the shadow of the hair. Right in here. I think we got that one.

Pretty good. Let's do one more. Okay, this guy's pretty clear what's going on here. Right That's a very firm form shadow into a soft form shadow into a soft form shadow. And then a crisp cast shadow. Form cast form cast right this is our form, form, cast or cast form cast.

This is cast form cast work back and forth. It's like a cascade, right, back and forth. Here's a nice, soft form shadow form shadow of the brow, cast shadow over the eye, right? Just look for those things, play them up. And, man, you're gonna get a lot out of that telling you just do it, analyze your edges. Just do hard and soft, you know, crisp, versus soft or firm and you're gonna get all you need pretty much.

Okay. All right. We're going to continue studying the form in the next module with simple primitive shapes. I'll see you there.

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