Graphics Reference
In-Depth Information
by Gary Schumer
Redesigning with Tone
Silhouette
We are often trying to create the illusion of a three-dimensional world in our fi lms. Therefore,
we sometimes lose sight of the fact that the fi lm is two-dimensional. Films usually happen on
a fl at screen. A character that in the story has three dimensions is only an illusion of light
and actually has only two dimensions. It is only a two-dimensional shape on the screen and
a three-dimensional form in our minds. This is why we often talk about a character's silhou-
ette. If you fi ll a character's image in with a solid black, you will see only its shape, its sil-
houette. We should design our character, its pose, and its placement within the composition
considering its two-dimensional interpretation.
Light and Patterns
Light patterns provide a way for an artist to break through the object contours and arrange
the best shapes for telling a story. Any picture can be thought of as a puzzle pattern of
two-dimensional shapes. There are dark, light, and various colored shapes. The shapes of
negative space between objects also form part of the puzzle. Sometimes the shapes of the
darks and lights do not reveal an object's contours but cut across the contours and back-
ground to create different shapes and new design possibilities. A strong light may place the
shaded side of a character's face into black shadow. If the background is also black, then
the head will merge with the background and some of the outside edge will be lost. The
outer contour of the character's head will be less apparent than the light pattern on the face.
Light and shadow patterns can create varied shapes regardless of the original contours
of the objects. Filmmakers, photographers, and artists of all kinds have realized that
lighting can redesign your world and create many compositional choices and dramatic
possibilities.
