Learning to see light and shadow. The laws of chiaroscuro: from simple forms to a portrait The distribution of light and shadow according to the shape of an object

A feature of human visual perception is to determine the shape and size of an object, depending on the degree of its illumination. Chiaroscuro in a drawing creates the illusion of three-dimensional space on a two-dimensional surface using light and dark shapes. Since the light hitting the object is distributed unevenly and at different angles, the degree of illumination of its various sides also varies greatly. Chiaroscuro in a drawing is a set of objective conditions on the basis of which a gradation of light and dark shades of light arises on the surface of an object. You can create realistic images only by learning to understand and see how light and shadow are distributed according to the shape of an object in the surrounding world. The perception of the mass, volume, location of the object depends on the correct work with chiaroscuro in the drawing. But this alone is not enough - practice is also important. Start by learning the basic components of chiaroscuro in pencil drawing, but don't stop there - keep drawing as you improve your skills.

Light and dark side of an object

The subject is always divided into two large parts: the zone of light and the zone of shadow. Light zone or light side - part of the subject, located closer to the light source and taking on most of the lighting. A flat object has no shadow. When creating a drawing, the artist must immediately determine where the lightest part of the subject will be, and where the darkest. The whiteness of the paper and the deepest tone of the pencil are the two limiting points for tonal stretching. There is a contrast stretch when a very light and very dark tone is taken. With nuance stretching, two very close tones are taken. In good work, there is always only one place where there is a point of maximum light and one - maximum dark. These are the tuning forks of light. Everything else is stretching. Illumination depends on the angle of incidence of light - the smaller the angle, the less light hits the surface.

Chiaroscuro saturation

Saturation varies depending on the structure of the surface and the amount of light that hits it. If several objects are at different distances from the light source, the chiaroscuro in the picture will change depending on their distance. In addition, light can be scattered and concentrated at one point. In the first case, the contrasts will be more pronounced and distinct. Objects that are close have more contrasting chiaroscuro than those that are far away. Due to the peculiarities of human perception, objects of different colors and their chiaroscuro can also be visually different.

Penumbra and its features

On objects of a rounded shape in the zone of contact with oblique rays of light, a smooth transition is formed from the light part to the dark, which is an intermediate state between light and shadow - penumbra. It is in this zone that you can see the subject's own tone. On objects based on clear rectangular shapes, this zone stands out separately and is located between the light and dark sides. The border of chiaroscuro depends on the shape of the subject and can look very different. Usually it is fuzzy and consists of gradations of tone.

What is a shadow zone?

The shadow zone or dark side is the part of the subject opposite the light source. Own shadow - a place where lighting does not fall. There is also a drop shadow - this is the darkest zone, it forms on surfaces. Depending on the location of the source, it can fall on the plane where the object, background or other objects are located. Its shape depends on the object itself and may change due to the structure of the surface on which it is directed. The peculiarity of the falling shadow is that it is always a little darker than its own. Since light can be reflected from neighboring objects, its structure is not uniform. The drop shadow and own shadow do not have to have clear boundaries - they consist of smooth tone transitions. The light reflected from the surface of the object partially brightens the shadow part and creates a reflection. A reflex is a kind of illumination of a shadow, but it is always lighter than it and darker than light. There will always be such a zone at the edge of the form. The reflex is also present on the side of the object, which is closer to the light source, but there it is less noticeable, and becomes more active in the shadow zone. The shadow itself is not a solid spot with the same tone. Working with her in drawing is a special art.

The light side of the object and its components

What parts in the figure with chiaroscuro will the light side consist of? The place where the maximum amount of light hits and from which the maximum amount of light is reflected is called a glare. It is most pronounced on glossy and convex surfaces. Further, the light will, as it were, fade away, and reduce the intensity until it goes into the penumbra zone. The slow transition from one shade to another is called gradation. Much depends on the amount of light and on the reflective surface. But in any case, the movement of tone along the form will be smooth, and not with sharp transitions. The correct tonal stretch is exactly what helps to convey chiaroscuro in the drawing. The light will gradually move into the shadow zone, after which a reflex will occur. It is worth noting one feature - when working with chiaroscuro, the lines of the subject disappear. All transitions between the light and dark side of the subject are created using tonal stretching.

The laws of chiaroscuro in the drawing

In order to trace the development of light and shadow on the form, we will create a sketch of the sphere. You can choose the objects yourself by arranging them on the sheet in any way, but it's easier to start with a rounded shape. Draw a horizon line and draw a circle on the sheet. Let's choose the direction of the light by marking it on the sheet. Then, on a circle, we draw an approximate boundary between the separation of light and shadow. Remember that at the final stage of work, all lines will disappear. Having determined the light, we note the approximate location of the falling shadow. The correct definition of the light source is one of the basics of chiaroscuro in a drawing.

Drawing with chiaroscuro step by step

Now let's apply a medium tone to the ball - it should not be too dark or too light, otherwise it will be difficult to make a smooth tonal stretch. If you start with a medium tone, there will be no white spots in the picture, you can simply add tone and change the gradation towards a darker or lighter shade. Then we will create our own and drop shadow. Add a tone above the horizon line. The horizontal surface on which the ball is located must be lighter than the vertical one. Now we create a gradation from the shadow to the light side. This transition should be soft, with a smooth gradation around the circumference. In the fifth step, darken the depth of the falling and own shadows. Don't forget about the reflex and create an illusion at the base of the sphere. At the final stage, outline the highlight on the side that is closest to the light source. Remember that you do not need to create a gradation to pure white. If everything is done correctly, the lines drawn in the first step should disappear, and the volume will be transmitted only by changing the depth of tone.

Working with light and shadow: conclusion

Having understood how chiaroscuro is created on a simple shape, it will be easier to understand how this happens with more complex objects. A solid circle without a shadow is perceived as flat. But it is worth adding at least two shadows: one's own and a falling one, and the perception immediately changes. Glare, penumbra, reflex add volume to a flat circle and give it the effect of three-dimensional space. The basis of chiaroscuro in a pencil drawing is a tonal stretch. In the process of creating a drawing, it is important to remember that depending on the structure of the surface, color and degree of remoteness from the light source, the tone gradation will vary. Glossy smooth objects with a light surface reflect light better, and the construction of chiaroscuro on them will differ from matte and darkened ones. Working in tone implies the absence of a line. If something is darker and something is lighter, a tone appears.

It is difficult to underestimate the role of light in our lives, because we only see what glows on its own or reflects light, that is, illuminated. What is the role of light in a drawing?

The ratio of light and shadow in the drawing allows us to convey the shape of the object, its volume, the nature of the surrounding space.

Laws of Light Propagation

Light travels in a straight line, just like the laws of physics. And the most illuminated will be those parts of objects on which the light falls at a right angle. Others will be illuminated weaker, because the rays of light, as it were, “slip off” them. Moreover, the sharper the angle of incidence, the darker the area.

In addition, the brighter the light source, the closer the depicted object is to it, the closer the object is to the drawing one, the brighter the lighting will be.

We get three factors of illumination:

• strength of the light source
• angle of incidence,
• distance.

Therefore, when painting, we make the foreground, located closer to the light source, more contrast, because it is illuminated more strongly. Here, both illuminated surfaces and shadows will be brighter. As you move away from the light source, the contrast of the pattern should decrease, gradually weaken.

Light zones

In order of decreasing illumination, the following are distinguished on the subject zones:

1. glare- the brightest part of the object, located in relation to the rays emanating from the light source at an angle as close as possible to a straight line. The highlight area in the drawing often remains unpainted, then its lightness is maximum and equals the lightness of the paper.
2. Light-located around the highlight, also a well-lit area of ​​the subject, only slightly less illuminated than the highlight. Drawn with light strokes.
3. half world- the angle of incidence of the rays increases and the overall tone of the drawing of the object becomes somewhat darker.
4. Penumbra- the next gradation of illumination, the angle of incidence is even smaller, the surface is even more darkened.
5. own shadow- is located on the surface opposite the illuminated part of the object, the rays from the main light source do not fall on this surface directly. An even darker area.
6. Reflex-Slightly lighter than own shadow, but Always darker than penumbra. Its appearance is due to the impact of light rays reflected from the surrounding object space on the object.
7. drop shadow- the object completely obscures the light, as if throwing its projection onto everything around. At the border of the object, the intensity of the shadow tone is maximum, it is darker than its own shadow.

Exercises

Cardboard models of geometric bodies will help you deal with the distribution of light and shadow, they are easy to cut and glue at home. And then twist it well in your hands, moving relative to the light source. Well, make sketches, of course.

It's also useful, if a little tedious, to do tonal stretches - from the lightest to the darkest, which your pencil is only capable of. At the same time, you need to try to highlight about seven clearly distinguishable tones, from the whiteness of paper to an intense, as dark tone as possible.

That's all for today.With wishes of success in the difficult task of mastering the fine arts, yours sincerely, Mr Hudman.

Chiaroscuro in the drawing

Chiaroscuro does not fall on objects at random. There are certain patterns of how chiaroscuro will be located on different forms. And a drawing person needs to know this. There are four basic forms, from the combination of which any complex form can be built. These are: cube, cylinder, cone and sphere. Each of these forms has its own patterns of distribution of chiaroscuro and its own differences.

Let's consider them in order.

own shadow

Cube

Light and shadow on the cube meet in one hard straight line, which is called the "chiaroscuro fault line" or simply "fault". At the same time, the tension of the shadow towards the light increases, as well as the tension of the light towards the shadow. In other words, the shadow on the shadow face of the cube will be darkest where it touches the lighted face. In turn, the light on the light side will be lighter near the fault line. Thus it turns out that neither the darkest part of the shadow nor the brightest part of the light lies at the very edge of the form. The cube will have a “hard” break into chiaroscuro.

Cylinder

The chiaroscuro fault on a cylinder behaves somewhat similarly. Light and shadow here, like the cube, form a straight line. The shadow, just like on the cube, will be more tense towards the light. Such an increase in the shadow towards the light is a general pattern for any form. Light also does not lie at the edge of the form. And this is also a general pattern.

Cone

A cone is very similar to a cylinder. The fault line is also located in a straight line, we observe a “soft” fault. The tension of light and shadow and the alternation of halftones are the same as on the cylinder.

However, the cone is singled out as one of the four main figures and it has one significant difference. The narrower the form, the more intense and contrasting the shadow becomes, and where the form becomes wider, the shadow brightens and, as it were, spreads out over the form.

Ball

The ball has a slightly different picture. The fault line runs along a circle lying perpendicular to the direction of the light source.

Here, as in other forms, the shadow will be strengthened towards the break point, the light will also lie not at the very edge of the form. The midtones will be arranged in concentric circles from the light to the fault line. This is what concerns "own" shadows, i.e. shadows on the form itself. And there are also "falling shadows". "Falling" is called the shadow that the form casts on other surfaces.

drop shadow

Cube, cylinder and cone

In the first case, there is a point where the fault meets the surface on which the form stands. This is the so-called "dead point". This is the place where your own shadow ends and the falling one begins. Through this point both shadows are connected.

Ball

At the ball we see a different picture. The fault line slips past the ball's point of contact with the surface on which it stands. And there is no dead center. The falling shadow lies around the point of contact of the ball, as if circling it.

To understand how to depict volume, beginners are taught to draw geometric shapes. But how to convey light and shadow on more complex shapes? Like in a portrait? Consider the laws of chiaroscuro using the example of drawings of various objects, including the drawing of a human head.

First a little theory

We see the world around us due to the fact that light is reflected from surfaces with different strengths. Therefore, we perceive objects as voluminous. To convey the illusion of volume on a plane, you need to learn how to depict chiaroscuro, which consists of:

1. Glare;
2. Light;
3. Penumbra;
4. own shadow;
5. Reflex;
6. Falling shadow.

On the example of a drawing of a ball, a cube and a human head, you can see where the listed areas of chiaroscuro are located. But now more about each.

1. glare the lightest part is called, which is a reflection of bright light: a lamp, the sun, etc. The glare is clearly visible on glossy (shiny) surfaces and is practically invisible on matte ones.
2. Light- as the name implies, this is the illuminated part of the subject.
3. Next comes the intermediate area between light and shadow − penumbra.
4. own shadow is the darkest part of the subject.
5. At the end of the listed zones will be located reflex. The word "reflex" - comes from lat. reflexus, which means reflection. That is, in our case, the reflex is the reflected light in the shadow part of the object. It is reflected from everything that surrounds the object from the shadow side: from the table, ceiling, walls, draperies, etc. The reflex area is always slightly lighter than the shadow, but darker than the penumbra.
6. drop shadow- this is the shadow cast by an object on what surrounds it, for example, on the plane of a table or wall. The closer the shadow is to the object from which it is formed, the darker it will be. The farther away from the subject, the brighter it is.

In addition to the described sequence, there is another pattern. The schematic drawing shows that if you draw a perpendicular to the direction of light, then it will coincide with the darkest places of the object. That is, the shadow will be perpendicular to the light, and the reflection will be on the opposite side of the glare.

Border shape between light and shadow

The next thing you need to pay attention to is the border of light and shadow. On different objects, it takes on a different form. Look at the drawings of a sphere, a cylinder, a cube, a vase, and a drawing of a human head.

Of course, the line between shadow and light is often blurred. It will become clear only in bright directional light, for example, in the light of an electric lamp. But novice artists should learn to see this conditional line, the pattern that it forms. This line is different everywhere and is constantly changing depending on the change in the nature of the lighting.

In the figure of the ball, you can see that the border line has a bend, that is, it looks like an oval shape. On the cylinder, it is straight, parallel to the sides of the cylinder. On a cube, the boundary coincides with the edge of the cube. But on the vase, the border between light and shadow is already a winding line. Well, in a portrait, this line takes on a complex, intricate shape. The border of light and shadow here depends on the nature of the lighting, and on the shape of the human head, facial features and anatomical features. In this drawing, it runs along the edge of the frontal bone, along the zygomatic bone, and further down to the lower jaw. In the drawing of a human head, it is very important to distinguish between chiaroscuro on the entire head as a whole and chiaroscuro on each individual part of the face, for example, on the cheeks, lips, nose, chin, etc. Beginning artists should accustom themselves to see the pattern that forms the border between light and shadow. For example, it acquires a particularly bizarre character in natural forms. It is one thing to draw simple geometric shapes, and quite another to draw tree trunks, foliage, rocky shore topography, flower petals, grass... To learn how to convey volume or chiaroscuro on such complex objects, one first learns on a simple one. Further, they complicate the task. For example, they start with a cylinder drawing, and with the acquisition of confidence, you can draw folds on the fabrics. Then - still lifes. Well, and further, and a landscape it is possible to be engaged or a portrait.

Directional and diffused light

To make it easier to understand the above aspects, you can experiment with the light from a table lamp. It gives a bright and sharp light, in which reflexes, shadows are clearly visible ... Try to highlight an object first on one side, and then on the other. Try changing the direction of the light, moving the lamp closer or further away. This will help you visually see all the subtleties of the topic under discussion.

In the visual arts, there is a technique called "chiaroscuro". Its essence lies in the opposition of light and shadow. A famous artist who actively used chiaroscuro was Caravaggio. This technique is clearly visible on his canvases. With artificial lighting, an environment is created in which the light becomes very bright and the shadow becomes very dark. This gives tonal contrast and makes the painting rich and sharp. With such lighting, all the nuances of chiaroscuro are clearly visible, and it will be easier for beginners to learn how to convey volume. In diffuse daylight (when it is cloudy) the shadows are not as pronounced as in sunny weather (or under the light of a lamp). Therefore, in the learning process, it is better to use artificial lighting with a single light source. With several sources, the situation becomes more complicated and several falling shadows can be observed in the setting, and the above sequence - light-penumbra-shadow-reflex - can be changed.

So, how does the pattern differ in practice when directional or diffused light is used? The illustration shows that with bright illumination, the penumbra becomes narrower, and will look less pronounced. The boundary between light and shadow is clearly visible. And the drop shadow has clear edges and looks darker. In diffused light, everything is exactly the opposite. The penumbra is wider, the shadow is softer, and the drop shadow does not have a clear outline - its border becomes blurred.

All these features of chiaroscuro will be noticeable not only with electric light or its absence. When the sun is shining on a clear day, the light will be clearly directed and sharp. When the weather is cloudy, it will be scattered. Accordingly, this will affect the chiaroscuro of trees, the landscape, or even the interior of a room illuminated by light from a window.

Conclusion

We could go on discussing this topic for a long time. But it is best to observe the real world with your own eyes. How are objects lit? How does chiaroscuro change and under what conditions? Ask yourself these questions and find the answers when you observe nature. There is nothing better than nature. Therefore, remembering the patterns of chiaroscuro described above, observe, memorize, make sketches from nature. Then you can confidently put the laws of chiaroscuro into practice.

Most art schools and drawing courses teach you how to draw shadows first. Building and drawing such primitive figures as a cylinder, a ball, a cone, a cube is a rather tedious and uninteresting business. However, it is precisely such tasks that are the first step towards understanding the shape and volume of a geometric shape, as well as the ability to depict its dark and light sides - that is, the ability to draw shadows with a pencil in stages. In further artistic practice, the ability to correctly feel the dark and light sides will be a good help in any drawing.

If you want to make the study visual and realistic, you need to give it volume. In this article we will tell you how to draw shadows with a pencil correctly.

Light and shadow

Drawings should be realistic and pleasing to the eye. Therefore, it is necessary to correctly combine light and shadow in them. This will give the drawings contrast, depth and a sense of movement. shadows to make the drawings look more lively, attractive and interesting?

A bit of theory

Have you ever thought about what allows us to see the shape of objects? Let's reveal a secret: this is a collision of light and shadow. If we put an object on a table in a windowless room and turn off the light, we won't see any form. If we illuminate the object with a very bright lamp or spotlight, then, again, we will not see its shape. It allows you to see only the light that collides with the shadow.

Neither light nor shadow falls on objects at random. There are certain patterns. They allow us to assume how the light will be located on the object, on its forms, and where the shadow will begin. And a drawing person needs to know these patterns.

Elements of chiaroscuro

In drawing, the following elements of chiaroscuro are distinguished: glare, light, penumbra, own shadow, reflex and falling shadow. Let's consider each of them in order.

glare called a spot of light, which is located on a convex or flat glossy surface and is obtained due to the strong illumination of the object.

Light are the surfaces of the object that are brightly illuminated.

Penumbra called a faint shadow. It occurs if the object is illuminated not by one, but by several light sources. In addition, it forms on surfaces that face at a slight angle to the light source.

Shadow- These are those parts of the subject that are poorly lit. A falling shadow is one that an object casts on the plane on which it stands. And his own - the one that is on the unlit side of it.

Reflex is called a weak light spot, which is located in the region of the shadow. It is formed by rays that are reflected from other objects nearby.

The image of these light gradations allows the artist to visually depict the shape of an object on a sheet, convey its volume and degree of illumination.

Do these rules work for computer graphics?

Yes. Computer graphics is the same drawing. Therefore, how to draw shadows in AIS or Photoshop is no different from depicting them on paper. All the theory and all the rules that work for an image on canvas or paper are also valid for a computer.

Step 1: Choosing the Right Materials

How to draw shadows with a pencil? First of all, you need to choose the right pencil. Of course, you can draw shadows with charcoal, sanguine, gouache, and acrylic. But at first it is better to limit yourself to a pencil.

For shadows, special drawing pencils are used. They are sold in sets. A budget option can be found at any office supply store. There is also a special paper for drawing: it is better to choose a thicker and stiffer one.

There are many varieties of drawing pencils. There are soft (M, 2M, 3M, ..., 8M, 9M) leads, and there are hard ones (T, 2T, 3T, ..., 8T, 9T). In the sets of foreign manufacturers, M is replaced by B, and T is replaced by H.

For the image of shadows, a set of 3T, 2T, T, TM, M, 2M and 3M will be enough for you. For the image of light, it is better to use hard pencils, and for shadows - soft ones. So the drawing will look more natural and it will be easier to draw it.

Let's talk about paper. Too smooth sheets, those on which we print, are not suitable for drawing. Do not use too hard paper. It will be difficult to draw shadows on it. It is best to use special drawing sheets, which are sold in a folder in stationery stores. How to draw shadows correctly? First of all, get the right materials.

Step Two: Line Sketch

How to draw shadows in a drawing? First, make a line sketch of what you want to draw. It is advisable to do this from nature, but you can also use a photograph of the object. The most important thing is that the object you have chosen is still. In this case, you will have a lot of time to draw it.

Take a close look at your home environment. You can draw flowers, clocks, kitchen utensils, clothes. All of these are excellent subjects for sketching.

If you are using a photograph, it is better to print it in black and white. So you will be able to more accurately depict the outline and shadows.

Step 3: Achromatic Colors

How to draw shadows? When working with a pencil at your disposal, they all start with white and end with black, having several shades of gray in the middle.

How to create an achromatic scale? Draw a rectangle: this can be done on a separate sheet of paper or in the corner of your drawing. Divide this rectangle into five equal parts (you can have more, but 5 will be enough to start), then number them.

The very first square will be white and the last one will be black. The parts between them need to be painted over with three different shades of gray, dividing them by tone. As a result, you will have something like your pencil palette: the first rectangle is white, the second is light gray, the third is medium gray, the fourth is dark gray and the last is the darkest tone that a pencil can give.

Step 4: Shadow Theory

How to draw shadows? To do this, you need to understand their nature.

Find the main light source. Observe that the lightest ones are often closest to the light, the dark ones are further away, and the shadows fall against it. Particular attention should be paid to reflections, as they can be the brightest point of the object selected for drawing.

Step 5: Choosing a Hatching Method

How to draw shadows? With hatching. It is superimposed over

Choose the way in which you will stroke the sketch, depending on the object itself, the light source and there are many types of hatching shadows, and the most popular of them are straight, circular and cross.

Straight line is the drawing of many parallel lines as close to each other as possible. This method is great for objects without texture and for drawing hair.

For circular hatching, you need to draw many small circles. With this hatching, you can create an interesting texture by scattering circles and supplementing them with lines. In addition, you can more clearly show the density of the object you are depicting by placing the circles close to each other.

Shading objects by drawing intersecting lines is cross hatching. This method is great for adding depth to a drawing.

Step 6: Pen Test

Try to make shadows. Since your drawing is still at the initial stage, you should not make them too dark. So you can easily erase them if necessary. Draw, gradually filling in the places that you need, and leave the lightest places white.

As you draw, compare your work to the object or photograph to make sure you're applying the shadows in the right place.

Step 7: Patience and Step by Step Work

Add shadows in several layers. They need to be gradually darkened, applying layer by layer. There should be a noticeable contrast between dark and light places. Remember to use the achromatic scale: the drawing should not be in the same gray tones.

There is no need to hurry. The process of shading the shadows is similar to the development of a black and white film: it should occur gradually. Patience is your key to success and beautiful drawings.

The more you deepen the shadows in the drawing, the less noticeable its contours will become. And rightly so, because in real life almost nothing has a black outline. The same should be reflected in your drawing.

Step 8: Blending the Shadows

Now blend out the shadows on your drawing. It is necessary to make them more realistic and smooth. You need to control the pressure so that it is not too strong and too weak. Blend until you are satisfied with the result.

If you do not have shading, you can use a small piece of paper. The eraser will help you brighten those places that you blurred by accident. It can be a highlight, or an outline that is not completely hidden under the hatching layer.

Most importantly, remember that most drawing people, including the most famous artists, made mistakes at the initial stage of their creative path.

• Between your hand and the paper on which you are drawing, you can put a blank sheet of paper for printing: this way you will avoid spots on the drawing.
• In order not to dirty the sketch and correct errors, it is better to use a vinyl eraser. Erasers made of this material do not spoil the paper and erase pencil marks well.
• Don't use your finger to smudge the strokes.
• To make the difference between light and shadow more noticeable, you need to use good lighting.
• It is better to hold the pencil at a smaller angle to the plane of the paper in order to draw with the side of the stylus, and not with its tip. So the shadows will turn out more natural.