By Grip

ISBN-10: 1592534457

ISBN-13: 9781592534456

Сборник из one thousand лучших идей упаковок обычных, повседневных товаров и продуктов. Потрясающие креативные идеи для дизайнеров всего мира. Packaging is far and wide you look—it’s on your fridge, your drugs cupboard, your closets, at the streets, available for purchase, and so on. placing jointly a compendium of 1,000 of the easiest programs will supply designers a real array of thought and illustrate why humans make the procuring offerings they make. The package deal of a product every so often makes or breaks a sale—consumers are interested in sure shades, photographs, and shapes, and this ebook could have lots to provide of all 3.

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Extra info for 1,000 Package Designs: A Comprehensive Guide to Packing It In

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If you look back at the section on light positions (see pages 34–35), the light we were maneuvering to produce butterfly, loop, and Rembrandt lighting was the key light. The key light is the light against which any other light sources in the scene are measured. ), the edges of the light can be either hard or soft. But for all sources, whether hard or soft, there will always be a highlight side and a shadow on the opposite side. The difference between the amount of light on the key-light side and the amount of light on the shadow side is called the light ratio.

Moved to a position directly beside the subject, the light falling from a 90 degree angle illuminates only one side of the face—so the effect is called split lighting. Rim lighting produces an appealing outline of the edge of the subject’s profile. of Possibilities, loop lighting is created. This is named for the small loop-shaped shadow produced below and slightly to the side of the nose. Comparing loop lighting to Rembrandt lighting, you can see that the nose shadow is smaller and does not extend to touch the shadow on the cheek.

Create overhead diagrams of your lighting. Part 2: Indoor Lighting. Photograph a mannequin head using soft window light (such as north light). Position your model close to the window and yourself adjacent to the same wall so you are shooting down the wall toward the window that lights your subject. Explore how the model looks side lit (split light), looking directly at camera. Do this with and without fill. Try turning the head toward the window to produce short lighting, then turn it away from the window to produce broad lighting.

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