Looking at Light

'Organic Valley', Andree Wallin

Wallin has an incredibly proficient understanding of how light moves around an environment, and this can be seen in his work. 'Organic Valley' shows an example of light diffraction causing the distant mountains to appear lower in contrast and detail. This technique is pivotal in creating a sense of scale/perspective/distance. Wallin has allowed himself to use a simplified color palette and yet still convey the form in his environment.

We see yellower tones towards the top of the image, showing the sun is low in the sky. Because of 'Rayleigh scattering' light is again diffracted around the environment lending yellow tones to the more distant peaks. (This principle also explains why our sky is blue.)

We can also see an example of the 'Frenel effect': the water in the centre of the image reflects more light towards the 'camera' (through which the viewer would observe the environment) as its angle is sharper. As the water surface moves closer to our simulated point of view, we can see less light from the sky reflected back at us. If the water surface were to continue, we would expect to see completely through into the riverbed below. Although the waterfall below suggests the material causing such reflective effects, without such well-observed mimimcry it would be much less obvious that we are indeed looking at water.

Towards the foreground we see enough detail for shadows to be prevailent. These are of course arranged to the opposite side to the light source.


Concept art for 'Deus Ex: Human Revolution', Jim Murray

Human Revolution has a distinctive art style inspired by renaissance paintings, utilising primarily the colours gold and black. Most of the levels take place at night, justifying the use of a sci-fi noire aesthetic along the lines of Blade Runner. This particular image shows how different materials can be suggested through understanding of how light relfects. Skin is soft and allows light to permeate through its layers, resulting in 'sub-surface scattering' of light waves. We can see this in Murray's image in his use of soft shadows/highlights on the skin of protagonist Adam Jensen; his face and exposed torso seem to glow. Other materials are conveyed similarly through the harshness of their shadows/highlights: Jensen's bandages around his waist, his trousers, his synthetic arms and the glass of the whiskey bottle. The harder the surface, the sharper light is reflected.

Jensen's cigarette smoke is drawn particularly well, shown through light from the windows caught in its particles and diffracted around.