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Drawing Lesson ndash A Theory of Light and Shade

Posted By rserpe On August 4 2009 232 pm In Drawing | 35 Comments

Sheri Lynn Boyer Doty CPSA -Biography 2010

bio sheri

[1]Sheri Doty received a B F A degree in 1972 from the University of Utah with a

painting and drawing emphasis Having experimented with non-representational styles during her student years

Sheri preferred classic realism as thought by professor Alvin Gittons He and the professors under whom shestudied emphasized strong drawing and painting skills Sheri is a faculty member of Salt Lake Community

College and Petersonrsquos Art center where she teaches Fine Art and Design

Sherirsquos paintings have earned her awards in regional national and international art exhibitions and invitational

shows including purchase awards and permanent museum acquisitions Sanford Corporation has used her

artwork to showcase its PRISMACOLOR colored pencil product line internationally Sheri is a charter member

and signature member of the Colored Pencil Society of America [CPSA]

Sherirsquos artwork has been published in numerous books including The Encyclopedia of Colored Pencil

Techniques by Quarto Publishing London EnglandMost of The Best of Colored Pencil series by Rockport

Publishers Creative Colored Pencil Techniques by Rockport Publishers Creative Colored Pencil Portraits

byrirsquos art work is included is Rockport Publishers and The Best of Portrait Painting by North Light Books DearSisters by Covenant Communications Inc Sherirsquos artwork is published on book covers in newspapers

periodicals and exhibit catalogues

People have been known to say ldquoShe possesses a unique ability to paint the breath of life into her subjects ndash a

gifted talentrdquo Because Sheri expresses not only the likeness of her clients but also their lifestyle her portraits are

in high demand Sheri has also has prints and greeting cards on the market

Sheri Says

ldquoThe art professors under whom I studied had us draw and paint from live models and ldquoopen airrdquo

studies not from photographs To truly see and paint a subject I need to see it from all angles The

human eye sees so much more than what is pictured in a photograph I am glad of the rich ridged

11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip

214

training I received from my teachers I have married the use of photography and live studies to createmy paintings I take my own photographs as resource material employing a variety of ways to recreate

what the human eye sees My paintings are not exact reproductions but an interpretation of life from my

view as an artist

ldquoThirty years of study and experience in this field has taught me that talent isnrsquot the reason for success in

any endeavor The keys to success are desire perseverance and determination But most of all I

depend on Father in Heavenrsquos influence When I pray about what I paint I can feel His help andguidancerdquo

sheri doty bio bttm

[2]

Follow this link to visit Sherirsquos website to view more of her work and to learn more about her [3]

A Theory of Light and Shade copy January 2009 Sheri Lynn BoyerDoty

All Illustrations for a theory of light and shade are by Sheri Doty accept for Manetrsquos painting ldquoThe Railwayrdquo

showing an undefined light source Before you undertake your practice of the use of light and shade in your artyou need to understand the significance that light and dark contrast has in making a painting or drawing visually

believable

Value is the term used to describe light gray and dark tones

Johannes Itten wrote ldquothe contrast between light and dark is one of the most expressive and important means of

compositionrdquo Value contrast can be encountered in both colorful and non-colorful art renderingsrdquo All neutraltones from white black and all the gray tones between are called achromatic meaning having no color All tones

that have some color are call chromatic When investigating art in all its components you must consider therelationship of value to other art elements color line texture and shape All these elements must exhibit some

value contrast in order to remain visible

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 figureresting on it The same hue or value appears to be a

different depending upon the contrast of tone or hueof the background upon which it is placedConversely two different tones or hues appear to be

the same when placed on contrasting grounds Eachwill have an impact on how believable your art will be

Click Image For Larger View


314

perceived by the viewer Most people have difficulty

perceiving ldquofigure-groundrdquo relationships When the

same medium toned figure is placed on varied lightand dark backgrounds it will be perceived to be as adifferent value

Example When a medium gray is placed on a near

black background the mid-gray tone appears verylight When the same gray tone is placed on a near

white background it is perceived to be very darkBut when a mid gray tone is placed on a similar value

background the contrast is minimal Note how thesame mid-tone value patch looks different whenplaced on backgrounds of contrasting values

Chiaroscuro

Value describes volume and depth of space In Europe artists of the Renaissance were concerned with showing

depth and volume in opposition to the artists of the Middle or ldquoDark Agesrdquo Men of the Renaissance consideredtheir time period to be the Age of Reason and rebirth of artistic and mathematical achievements Renaissance

artists manufactured the term ldquoChiaroscurordquo to describe how light and dark can imply depth and volume Theword Chiaroscuro is a combination of two Italian words that mean light and dark (chiaro (clear light) + oscuro

(obscure dark) Atmospheric or Ariel perspective was one of the artistic strategies used in the study ofChiaroscuro during the Renaissance (Atmospheric or Ariel perspective is covered in depth in the section

ldquoObjective Color Harmonyrdquo)

Chiaroscuro and the Illusion of creating intuitive space

One of the most used and useful applications of value is creating the illusion of volume and mass on a two

dimensional surface When a mass is exposed to light a solid object will receive more light from one side thananother when that side is closer to the light source A spherical surface demonstrates this as an even flow tone

from light to dark A cast shadow is created when the source of light is obstructed by the sphere An angularsurface shows sudden contrast of light and dark

[4]

Click Image for Larger View

Intuitive Space is merely a trick the artist uses to create depth on a two dimensionalsurface

ldquoIntuitive spacerdquo is merely the illusion space created by using artistic methods to trick the viewer into seeing


414wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint

depth volume and mass on a two dimensional surface Intuitive space is sensed or rdquofeltrdquo on a two dimensionalplane Intuitive methods of space control include overlapping transparency and other applications of spatial

proportion In a ldquoTheory of Light and Shaderdquo I will show how to create intuitive space by using ldquoLight Logicrdquo

Light Logic refers to how light interacts with objects Light Logic is the term Betty Edwards uses in her book

ldquoThe NewDrawing on the Right Side of the Brainrdquo

Light Logic and the Rendering of Three Dimensional Objects onto a Two DimensionalSurface

You will make your art more believable when you keep these basics in mind

A Light Source and Shadows

A light projected onto an object or figure creates lights darks and cast shadows Your source of light may be

the sun the moon a light through a window or an artificial light When several light sources are present the lightand dark tones vary and are less predictable To simplify the study of light and shadow in this first section I will

use only one light source

[5]


Two Kinds of Shadows

There are two kinds of shadows that occur when one light

shines on an object a cast shadow and a form shadow

Cast Shadow

When an object blocks a light source it casts a shadow A

cast shadow is not a solid shape but varies in tone andvalue The farther a cast shadow is from the object which

casts it the lighter and softer and less defined becomes its

edges

Form Shadow

A form shadow is the less defined dark side on an objectnot 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 requirecareful observation ndash quinting at the subject to see value

definition affected by figure-ground making value

relationships clearer



A Light Side and a Dark Side onRound or Circular Surfaces

When one light source is present I was taught the dark

side is ldquoalwaysrdquodarker than the light side of the object and

the light side is ldquoalwaysrdquo lighter than the dark side

Establishing a definite light side and dark side makesround objects appear round and defines the form of an

object accurately Use this simple trick

to make your artwork more true to life separalight tonesavoiding figure-ground confusion

[6]


[7]


THE LIGHT SIDE IN TWO PARTS

Highlight

The lightest spot or streak is where the

light strikes the subject in exactly the

middle of the light side between theshadow 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 texturedsurface

Light middle tones

Note to avoid confusion ldquoalwaysrdquo

keep the values on the light side lighterthan the values on the dark side In

reverse the values on the dark side

are darker than the values on the light

side Itrsquos the middle tones on either

side that confuse the artistrsquos eye in

value relationships

The Dark Side in Three Parts



[8]


Form Shadow in Three Parts

ldquoShadow edgerdquo or ldquocore shadowrdquo

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 theshadow edge on round subjects

Dark middle tone

The variable values blended form the shadow edge on thedark 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 middlevalues will become a dark reflection The concept also holds true when the object of the painting is sitting on a

colored surface If the reflected light is reobject

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 lateafternoon 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 closource is to the object

[9]


CAST SHADOWS IN THREE PARTS

The vocabulary used to describe cast shadows in art come from shadow descriptions in astronomy The umbrapenumbra 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

[10]


Light Source Cast Shadows and the Axis

[11]


Cast Shadows The Sphere




The Cube

[12]


The Cylinder and Cone

[13]


More on Cast Shadows




Too many complex cast shadows can be confusing Such objects can be rendered by blurring the edges

Daylight and Cast Shadows

[14]

Cast shadows of irregular shapes and in natural sun light

are open for interpretationbecause of the constant changing

sunlight As you work on location the sun will continue to

advance and change what you are drawing Note the place

you would have the sun be positioned and keep thatconstant to avoid a confusing spread of shadows The

nature of shadow is affected by weather

sunlightmoonlight or artificial light

Multiple Light Sources or an Undefined Light source

Multiple light sources or an undefined light source minimizes the gradation of values and flattens the sense of

volume in three dimensional objects Because of this lighting affect artists such as Manet painted colors in flat

areas neglecting the use of one light source to create shadows An undefined light source causes a sense of

shallow space Some art critics believe this sense of shallow space to have paved the way for

ldquononrepresentationalrdquo uses of value and color

[15]



Manetrsquos Painting ldquoThe Railwayrdquo shows value contrast in composition but the sense of shallow space is

emphasized by a lack of a single light source

Objects Have Light Medium orDark Values

Objects have an allover light medium or dark quality To

make your representation more believable you should take

into consideration the light or dark value of each objectBefore you render details block in the value characteristics

of each object Using this strategy will save you time and

hachieve a more realistic result


Value Schemes and Mood

You create a sense of mood or interest depending on the

combination of values present in a work of art When value

contrast is limited to a small range of tonal variations the result is

one of understatement and calm ldquoHigh Keyrdquo is the term used for

a light value scheme All middle tone values are in a ldquoMediumKeyrdquo range

And ldquoLow Keyrdquo refers to an allover dark toned value scheme

Sharp value contrast evokes strong emotions in the viewer

suggesting drama or conflict Extreme value contrast in a value

scheme refers to a style of chiaroscuro called ldquoTenebrismrdquo

[16]


Tenebrism ndash Violent Chiaroscuro

In the 17th century a group of painters instituted the so

called ldquodark mannerrdquo of painting They were inspired by

Michelangelo di Caravaggio Rembrandt perfected this

manner of Chiaroscuro Tenebrism made value an

instrument of strong contrast that lends itself to a dramaticand even theatrical style of using light and dark contrast

The tenebrists were interested in peculiar lighting causing

mood or emotional expressionism The deviation from[17]



standard light conditions into unexpected lighting locationscreates unusual and special effects This style is used todaybyphotographers


The analytical study of Chiaroscuro in the art of today

Using chiaroscuro to create excitement and interest in composition is a modern concept Artists of the

Renaissance were concerned with showing depth and volume on a two dimensional surface The expression of

light and contrast in old and new masterpieces reveal the continued importance of Chiaroscuro in art

Notan

Notan is a Japanese word meaning dark-light The principle of Notan is the interaction between positive (light)

and negative (dark) space This interaction is confirmed by the ancient Chinese symbol of Yin and Yang This is

represented by mirror images of one black and one white shape revolving around a center point The positive

and negative areas make a whole through a unity of opposites that are equal and inseparable In Notan

opposites complement and do not conflict

[18]


ldquoAn understanding of Notan traditionally has been and will be a requirement for mastery of any field of art It

enables the artist to compose a work in which all the parts relate to create a unity of visual organization

impression or pattern Notan enables the artist to achieve a Gestalt ndash or more simply to create a designrdquoNotan

The Dark-Light Principles of Design by Dorr Bothwell and Marlys Mayfield

Lao-Tse wrote a poem that to mesimply states the Essence of Notan

Thirty spokes meet in the hub

but the empty space between them is the essence of the wheel

Pots are formed from clay

but the empty space within it is the essence of the pot

Walls with windows and doors form the house

but the empty space within it is the essences of the house

Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip

1214

The Principle

Matter represents the usefulness

Non-matter the essence of things

Poem taken from Johannes Ittenrsquos book Design and Form Revised Edition

Basic Course at the Bauhaus and Later John Westly amp Sons INC page 13

Value as Pattern

Controlled shallow space is illustrated

by the early cubists such as Picassoand Braques Their paintings are taken

from realistic subject matter andabstracted into unified flat tonalplanes The planes are shaded

individually with the semi-illusion ofspace with no light

source Later each plane takes oncharacteristic value combined with

other planes with the same style ofvalue pattern This produces acarefully conceived two dimensional

pattern of light and dark values Theshallow space develops a three

dimensional effect through thecharacteristics of the advancing and

receding values

[19]


Decorative Effects of Light and Dark Contrast

Artists using the decorative effects of light and dark contrast ignore the use of the conventional tools of light logicall together When light effects appear it is often based on the total design of the artwork

[20]




Compositional Functions of Value

Today most artists use value as a vital tool in pictorial composition Value contrast is an intrinsic factor in pictorialorganization in showing dominance in design creating two dimensional patterns establishing mood andproducing spatial unity The effectiveness of a work of art or design is in large measure based on the use of value

Resource Material Ideas for this section came from my own experience education and observationsldquoBasic Perspective for Artistsrdquo by Keith West ldquoPerspective Without Painrdquo by Phil Metzger North Light

Books 1988 The Basics of Drawing by Parramon Ediciones Editorial Teamrsquo Barronrsquos Educational Series1994 The Practice and Science of Drawing by Harold Speed Dover first published in 1917 by Seeley in

London reprinted by Dover1972 Art Fundamentals Theory and Practice ndash Second Edition WMCBrown Company PublishersDubuque Iowa 1968 by Ocvirk Bone Ssinson and Wigg Design BasicsFifth Edition by David A Lauer and Stephen Pentak Wadsworth-Thompson Learning

Article printed from Art Instruction For Beginners ndash Art Instruction Blog Onlinehttpwwwartinstructionblogcom

URL to article httpwwwartinstructionblogcomdrawing-lesson-a-theory-of-light-and-shade

URLs in this post

[1] Image httpwwwartinstructionblogcomwp-contentuploads200908bio_sherijpg

[2] Image httpwwwartinstructionblogcomwp-contentuploads201009sheri-doty-bio-bttmjpg

[3] Follow this link to visit Sherirsquos website to view more of her work and to learn more about her httpwwwsheridotycom

[4] Image httpwwwartinstructionblogcomwp-contentuploads2009083-photos-sphere-cubejpg

[5] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_2jpg



[8] Image httpwwwartinstructionblogcomwp-contentuploads200908missingpicgif






[14] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-



2009_img_13jpg


2009_img_14jpg



[18] Image httpwwwartinstructionblogcomwp-contentuploads200908yenyangexplinationjpg



2009_img_20jpg

Click here to print

Copyright copy 2008 Art Instruction For Beginners - Art Instruction Blog All rights reserved


214

training I received from my teachers I have married the use of photography and live studies to createmy paintings I take my own photographs as resource material employing a variety of ways to recreate

what the human eye sees My paintings are not exact reproductions but an interpretation of life from my

view as an artist

ldquoThirty years of study and experience in this field has taught me that talent isnrsquot the reason for success in

any endeavor The keys to success are desire perseverance and determination But most of all I

depend on Father in Heavenrsquos influence When I pray about what I paint I can feel His help andguidancerdquo

sheri doty bio bttm

[2]

Follow this link to visit Sherirsquos website to view more of her work and to learn more about her [3]

A Theory of Light and Shade copy January 2009 Sheri Lynn BoyerDoty

All Illustrations for a theory of light and shade are by Sheri Doty accept for Manetrsquos painting ldquoThe Railwayrdquo

showing an undefined light source Before you undertake your practice of the use of light and shade in your artyou need to understand the significance that light and dark contrast has in making a painting or drawing visually

believable

Value is the term used to describe light gray and dark tones

Johannes Itten wrote ldquothe contrast between light and dark is one of the most expressive and important means of

compositionrdquo Value contrast can be encountered in both colorful and non-colorful art renderingsrdquo All neutraltones from white black and all the gray tones between are called achromatic meaning having no color All tones

that have some color are call chromatic When investigating art in all its components you must consider therelationship of value to other art elements color line texture and shape All these elements must exhibit some

value contrast in order to remain visible

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 figureresting on it The same hue or value appears to be a

different depending upon the contrast of tone or hueof the background upon which it is placedConversely two different tones or hues appear to be

the same when placed on contrasting grounds Eachwill have an impact on how believable your art will be



314








Chiaroscuro










[4]
















[5]





Cast Shadow




edges

Form Shadow
















[6]


[7]



Highlight







Light middle tones







value relationships




[8]







Dark middle tone







Reflected light




Cast Shadows








[9]







[10]



[11]






The Cube

[12]



[13]








[14]














[15]






















[16]


















Notan






[18]














1214

The Principle





Value as Pattern









receding values

[19]




[20]











URLs in this post

















2009_img_13jpg


2009_img_14jpg






2009_img_20jpg

Click here to print



314








Chiaroscuro










[4]
















[5]





Cast Shadow




edges

Form Shadow
















[6]


[7]



Highlight







Light middle tones







value relationships




[8]







Dark middle tone







Reflected light




Cast Shadows








[9]







[10]



[11]






The Cube

[12]



[13]








[14]














[15]






















[16]


















Notan






[18]














1214

The Principle





Value as Pattern









receding values

[19]




[20]











URLs in this post

















2009_img_13jpg


2009_img_14jpg






2009_img_20jpg

Click here to print














[5]





Cast Shadow




edges

Form Shadow
















[6]


[7]



Highlight







Light middle tones







value relationships




[8]







Dark middle tone







Reflected light




Cast Shadows








[9]







[10]



[11]






The Cube

[12]



[13]








[14]














[15]






















[16]


















Notan






[18]














1214

The Principle





Value as Pattern









receding values

[19]




[20]











URLs in this post

















2009_img_13jpg


2009_img_14jpg






2009_img_20jpg

Click here to print











[6]


[7]



Highlight







Light middle tones







value relationships




[8]







Dark middle tone







Reflected light




Cast Shadows








[9]







[10]



[11]






The Cube

[12]



[13]








[14]














[15]






















[16]


















Notan






[18]














1214

The Principle





Value as Pattern









receding values

[19]




[20]











URLs in this post

















2009_img_13jpg


2009_img_14jpg






2009_img_20jpg

Click here to print




[8]







Dark middle tone







Reflected light




Cast Shadows








[9]







[10]



[11]






The Cube

[12]



[13]








[14]














[15]






















[16]


















Notan






[18]














1214

The Principle





Value as Pattern









receding values

[19]




[20]











URLs in this post

















2009_img_13jpg


2009_img_14jpg






2009_img_20jpg

Click here to print






[10]



[11]






The Cube

[12]



[13]








[14]














[15]






















[16]


















Notan






[18]














1214

The Principle





Value as Pattern









receding values

[19]




[20]











URLs in this post

















2009_img_13jpg


2009_img_14jpg






2009_img_20jpg

Click here to print





The Cube

[12]



[13]








[14]














[15]






















[16]


















Notan






[18]














1214

The Principle





Value as Pattern









receding values

[19]




[20]











URLs in this post

















2009_img_13jpg


2009_img_14jpg






2009_img_20jpg

Click here to print







[14]














[15]






















[16]


















Notan






[18]














1214

The Principle





Value as Pattern









receding values

[19]




[20]











URLs in this post

















2009_img_13jpg


2009_img_14jpg






2009_img_20jpg

Click here to print























[16]


















Notan






[18]














1214

The Principle





Value as Pattern









receding values

[19]




[20]











URLs in this post

















2009_img_13jpg


2009_img_14jpg






2009_img_20jpg

Click here to print










Notan






[18]














1214

The Principle





Value as Pattern









receding values

[19]




[20]











URLs in this post

















2009_img_13jpg


2009_img_14jpg






2009_img_20jpg

Click here to print



1214

The Principle





Value as Pattern









receding values

[19]




[20]











URLs in this post

















2009_img_13jpg


2009_img_14jpg






2009_img_20jpg

Click here to print











URLs in this post

















2009_img_13jpg


2009_img_14jpg






2009_img_20jpg

Click here to print




2009_img_13jpg


2009_img_14jpg






2009_img_20jpg

Click here to print


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Art Instruction For Beginners – Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shade » Print