Light, Shade,

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Light, Shade, Value Lecture

• Art 120 Drawing 1

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Basic Vocabulary

• Baseline the imaginary line on which an object
  or group of objects sit
• Converge/Laws of Convergence come together,
  meet/orthogonal lines will appear to converge at
  a vanishing point
• Diagonal Lines straight lines that are at an
  angle
• Forms VS Shapes in Perspective square/cube
  rectangle/box circle/sphere triangle/pyramid
  oval/ellipse cylinder
• Foreshortening a technique for producing the
  illusion of an objects extension into space by
  contracting its form
• Horizontal Lines straight lines that extend to
  the left right
• Horizon Line/Eye Level The apparent
  intersection of the sky and earth/The imaginary
  horizontal line parallel to the viewers eyes

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Basic Vocabulary

• Orthogonal Lines Parallel lines that appear to
  converge at the horizon
• Parallel Lines lines that run together but never
  intersect
• Perpendicular are lines that intersect at right
  angles (90o) to each other
• Proportion comparative relationship between
  parts of a whole and between the parts and the
  whole
• Scale size and weight relationships between
  forms
• Vanishing Point the spot on the horizon line
  (or y-axis for 3pt) that orthogonal lines
  converge upon
• Vertical Lines straight lines that extend
  upward or downward

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Using Value to Create Depth

• General principles
• Know your light source or sources strength and
  direction.
• Value contrast of objects in space will become
  closer in value to the backgrounds value as they
  recede in space.
• Use different value schemes to define different
  levels of space.

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Value

• Value is describing relative light and dark in
  order to capture illusionary volume, mass, space,
  depth
• A simple Value Scale shows figure-ground
  relationships
• Figure-Ground is the condition in which
  backgrounds tone or hue changes the visual impact
  of the figure resting on it. The same hue or
  value appears to be a different depending upon
  the contrast of tone or hue of the background
  upon which it is placed. Conversely, two
  different tones or hues appear to be the same
  when placed on contrasting grounds.

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The Blur Trick

• Squint your eyes to blur edges of shapes and
  tones in space.
• Tones will then blend and reveal value patterns
  and value schemes.
• This will allow for quicker layout and assessment
  of space in terms of value.

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John Collier
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John Collier
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Understanding Light through Shadow

• There are two types of shadow Cast and Form
• Cast When an object blocks a light source it
  casts a shadow. A cast shadow is not a solid
  shape but varies in tone and value. The farther a
  cast shadow is from the object which casts it the
  lighter and softer and less defined becomes its
  edges.
• A form shadow is the less defined dark side on an
  object not facing the light source. A form shadow
  has softer less defined edges than a cast shadow.
  Form shadows are subtle shadows essential for
  creating the illusion of volume, mass and depth.
  The changes in form shadows require careful
  observation squinting at the subject to see
  value definition affected by figure-ground making
  value relationships clearer.

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Intuitive Space - Chiaroscuro

• Artists of the Renaissance were concerned with
  showing depth and volume unlike the artists of
  the Middle or Dark Ages. Renaissance artists
  manufactured the term Chiaroscuro to describe
  how light and dark can imply depth and volume.
  The word Chiaroscuro is a combination of two
  Italian words that mean light and dark. (chiaro
  (clear, light) oscuro (obscure, dark)

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Self Portrait with Gorget c. 1629 Rembrendt
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Tenebrism Dramatic Chiaroscuro

• The 17th century introduced a dramatic use of
  chiaroscuro called tenebrism. Rembrandt perfected
  this manner of Chiaroscuro. Tenebrism made value
  an instrument of strong contrast that lends
  itself to a dramatic and even theatrical style of
  using light and dark contrast. The tenebrists
  were interested in peculiar lighting causing mood
  or emotional expressionism. The deviation from
  standard light conditions into unexpected
  lighting locations creates unusual and special
  effects.
• Today, this style is often used by photographers.

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Anatomy Lesson of Dr. Nicolaes Tulp c.1632 by
Rembrandt
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Sfumato

• Sfumato, (from Italian sfumare, to tone down or
  to evaporate like smoke), in painting or
  drawing, the fine shading that produces soft,
  imperceptible transitions between colours and
  tones. It is used most often in connection with
  the work of Leonardo da Vinci, who made subtle
  gradations, without lines or borders, from light
  to dark areas the technique was used for a
  highly illusionistic rendering of facial features
  and for atmospheric effects.

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Mona Lisa Leonardo da Vinci c. 15031506
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The Light Side/The Dark Side

• Establishing a definite light side and dark side
  makes round objects appear round and defines the
  form of an object accurately. Use this simple
  trick to make your artwork more true to life,
  separate light tones avoiding figure-ground
  confusion..
• Modeling is a contrived method of drawing the
  light and dark value to capture the mass, volume
  and depth of objects. Rendering is a term used
  to describe the actual value and affect of light
  observed in a form/person, etc.
• The lightest spot or streak is where the light
  strikes the subject in exactly the middle of the
  light side between the shadow edge and the edge
  of the object. A highlight can be shinny and
  crisp on a glass or metallic surface, or fuzzy
  and muted on a dull or textured surface.

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Types of Shadow Core, Midtones, Reflected
Light

• Shadow edge or core shadow. The edge where
  the light is blocked from the light source is the
  darkest value on the dark side. The core or
  darkest value blends into the middle tones from
  the shadow edge on round subjects.
• The variable values blended form the shadow edge
  on the dark side. Again, the dark middle tones
  are darker than any values on the light side. The
  human eye can trick the brain into believing the
  lightest values on the dark side are the same as
  the darkest values on the light side. If the
  artist is confused about lights and darks, the
  rendering is less understandable.
• Reflected light If the object being painted is
  sitting on a white table, the light from the
  table reflects back onto the object and makes the
  shadow side lighter. If the object of the
  painting is resting by something black or dark,
  the middle values will become a dark reflection.
  The concept also holds true when the object of
  the painting is sitting on a colored surface

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Cast Shadows

• When the source of light is blocked by an object
  it casts a shadow. The length and shape of the
  cast shadow depends on the placement of the light
  source. Long shadows are cast from a side light
  source (as from the sun in late afternoon or
  early evening), and short cast shadows are cast
  from over head (as from a noonday sun). The shape
  a shadow casts depends on the shape of the object
  casting it and how close the source is to the
  object.

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Cast Shadow Vocabulary

• The vocabulary used to describe cast shadows in
  art come from shadow descriptions in astronomy.
  The umbra, penumbra and antumbra are the three
  distinct names given to the description of
  shadows cast by heavenly bodies. The umbra is the
  darkest part of a shadow considered the absence
  of light. The penumbra is a lighter outer shadow
  where the object is only partially obscuring the
  light. The antumbra is more obscure. When it is
  visible it seems to extend out from the penumbra
  in a lighter and less distinct way.

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Light Source, Cast Shadow, and the Axis

• The distance of the object from the light source
  affects the appearance of the light and dark side
  of the object. The closer the object is to the
  light source the smaller the light side appears
  to that of the dark side. In addition the light
  from the light source may appear more cone shaped
  than a light source from a distance.
• The Axis divides the light side from the dark
  side and defines the angle of the light.

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Light Source and Shadow

• The shape of the shadow is also affected by the
  light source. When the light source is from
  anything but the sun, like a light bulb, the
  shadow widens the further it is from the object.
  The sun, meanwhile, casts a straight shadow in
  that it remains true to the objects shape
• More Than One Light SourceA shadow is made for
  each light source present in a scene. If you are
  inside a room, for example, and there are two
  lights on, you will cast a shadow from each light
  source.

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The Sphere
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The Cube
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The Cylinder and The Cone
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More
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Natural Light Daylight Shadow

• Cast shadows of irregular shapes and in natural
  sun light are open for interpretation because of
  the constant changing sunlight. As you work on
  location, the sun will continue to advance and
  change while you are drawing. Note the place you
  want the sun positioned and keep that constant,
  to avoid a confusing spread of shadows. The
  nature of shadow is affected by weather,
  sunlight, moonlight, or artificial light.

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How this works..
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Basic Forms SEE just dont Look
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• Tips to keep in mind-The darker the shadow, the
  brighter the light source.-As the shadow is
  drawn further from the object, the lighter it
  becomes.

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Student Work
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1-Point Perspective
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2-Point Perspective
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3-Point Perspective