VIGNETTE PART 2

For the next section of the Vignette study, I wanted to move away primarily from Struzan and look at other artists, so I settled on Bob Peak. One common vignette strategy I notice Peak using was a type of Fade Vignette, but carved along shadow lines - I’m calling this a Shadow Carve Vignette. And what separates this from a Shape Weld is that the background is much brighter than a black color the shadow would normally fade into - the background is much closer to the luminance of the light on the character. 3 Bob Peak examples below:

The white figures below use the Shadow Carve Vignette:

A Shadow Carve Vignette used by Tony Stella on the screen-right head:

In the Bob Peak example below, we see that dark hair qualifies it for being cut a Shadow Carve Vignette. So, we see the character’s face mostly carved out with less emphasis on his whole head:

This same dark hair-Shadow Carve Vignette is used below by Tony Stella:

And used by Drew Struzan on Qui Gon-Jinn:

Where the idea can be pushed even further is if the Shadow Carve Vignetteis used on top of another image - as show in this Bill Sienkiewicz piece: