- Lesson Details
In week four, instructors Chris Legaspi and Heather Lenefsky will show you how to apply light to simple forms and use halftones to enhance the sense of 3-dimensional space. Then, you will apply your knowledge of forms to render your household objects.
Throughout this course, you’ll have access to the NMA community for feedback and critiques to improve your work as you progress.
Transcription not available.
use to make your drawings come to life.
And that's the laws of light.
And basically the laws of light help us to control and manage and understand
the awesome complexity of light.
Light is complex.
Light and shadows, complex values are complex.
As you may know, as you have seen we can go lots of different ways.
So, the laws of light help us to better understand and manage that.
Now the good news for you is that there's only two laws of light.
The first is different value, different plane.
And we're going to talk about that next.
And the second is every thing that receives light is also a source of light.
So here's some wonderful.
3d diagrams to help, help me better explain the idea of planes.
Now this is a cylinder form.
As you can see, it's curved right, fully round.
It's kind of like, like a, like a column or a tall block, a curve, a cylinder.
Now we can think of cylinders when we shine a light, we shine a bright
light and you can see that it produces a light and shadow side.
We can think of cylinder, not just in curve form.
When we start to like deformed form, we want to think about it in its
most basic idea, which is a plane.
Remember we start with only the light and only the shadow.
We, we start with two values, light and dark, light and shadow.
And that's how we begin to light a curved form.
Like a cylinder is, is this way, one form's hitting.
facing light, creating a corner.
Now you can see the sa well, Chris there's no corner it's round, of course,
but as artists we can suggest corners.
And that's what planes are the theoretical flattening of a curved surface.
So here's a progression of how we can go.
Cause in my mind's eye, I look at this, but I see this.
And then as we draw.
We go from this form.
Light, shadow, light facing plane, shadow facing plane, one corner.
And then we go to this idea.
So basically we take this form and we curve it started here and then, right?
You see that started here with light facing plane shadow plane.
Now we add a second plane, which becomes a half tone plane.
Now we go from three planes adding two more, four planes.
We're basically dividing this corner, adding two more planes.
So one, two, three, four, five, total on this side.
So it's starting to starting to go from here to here to here, and then
eventually we wanted to be a full curve.
Let me show you another example that might help illustrate this idea of
plane, this next example might help you understand planes better because when
I think of planes I kind of imagine a diamond because you know how a diamond
can have little facets, a bunch of faces, and that's kind of what this is.
This is sort of this sphere like thing, but it has flat surfaces, flat planes.
iT has corners, right?
When I see this, when I want to draw around organic form my first
instinct is to flatten it to better manage all of those tones.
We can get let's first think of it as boom, two values, light, shadow,
and then gradually we'll add facets.
We'll add planes.
We'll add cuts and corners.
So you see this natural planar, and that's what we're going
to get into in this lesson.
So that's the good news.
Only two things you have to worry about.
But before we get into that, let's talk about light and shadow,
that's really what this is.
Well, we're going to be able to first show you what the components of light
and shadow are and then the laws of light will help us to apply that knowledge.
So, let me start with just a basic
again, drawing through, right?
And what I want to do is shine a light in our sphere, and it's going
to pick a spot somewhere here, pretend this is my light source.
Now what's going to happen is that when we get in a sphere, it'll produce
a light and shadow pattern, right.
You know, when you have a, like an apple or an orange on a table and
you have your kitchen light, you see that one side is enlightened inside.
It'll be in shadow.
So based on my light direction here I'm going to put a shadow note there,
I'm drawing this from imagination, but you can use reference as well
or, or, or do like I was mentioning
kind of light on a, on a form and an object, actual object.
Then what this is, is it's called the the cast shadow.
And we'll talk more about that as well.
It's the projection.
We're going to take our form, our little line drawing so far, and
I'm going to fill in or darken little shadow pattern I drew,
including the cast shadow. And let's put this in. Gonna draw the table
to go behind it.
So I got my form.
Got the surface that it's on.
Got the light side and the shadow side.
Light side, shadow side.
And let me start to bring some tone over here into the light side.
We'll talk about the individual components first and just kind of
quickly go through this drawing here.
There's my little ball.
And one more little accent there.
Remember we can always use gradations one of the techniques
that we know we've be practicing.
Hopefully you guys been doing your exercises,
many ways to shade and gradation is one of them, one of the techniques.
Outline the contour.
Then gonna use my finger to soften this tone a little bit and
I'm going to leave this section here. It's known as the highlight.
So I'll expand on that as well, what we have here is a form of
light, a basic sphere, a ball.
And let's talk about what the individual components of the light and shadow
are because they're really important moving forward, and it helps us to
identify them so that we know um, what we're seeing when we're drawing from
from reference or from life and what we can create in our own drives.
And we draw from imagination or compose, everyone, see, and create our own scenes.
It's a bit of a wobble, my orange here, trying to make it a perfect ball but
it definitely looks like an orange now.
So let's talk about the components of light and shadow.
What we have here, there's really two things we need to consider,
the light side and the shadow side.
Now the shadow itself has three different unique parts.
There's the shadow body, which is right here.
It's the shadow body, right?
Then there's this thing that's on the, on our imaginary table here or a surface.
And that's, what's called the cast shadow.
What a cast shadow is, is a, is a projection of the form
in shadow onto a surface.
What it really is it's blocking this here's this, imagine the light ray,
the light ray is being blocked by this form, which creates the shadow body.
But that light ray will continue to hit the surface.
It will continue to hit the surface, but where it's being blocked by
the form, it creates a projection or a shadow shape on the surface.
And that's the cast shadow.
Maybe darken mine a little bit.
A little bit darker there.
That's the cast shadow.
So you have shadow body, cast shadow.
Now in the shadow of body itself, the one part we want to pay attention to
is what's called the core shadow and the core shadow occurs at the border
by border I mean, this part right here, it's called the core shadow and
that's where light and shadow meet.
So you see there's a nice area.
And I'm going to darken it a little bit and we'll talk more about that
as well, why that's important, you see where it goes from.
It's clearly light lighter here, and it's clearly darker here and there's
a sort of a line it's not quite a line cause it's a round form, but
it's, there's a point where or an area
where they meet and that's called the core shadow.
Basically the core shadow is the border between light and shadow.
The border between light and shadow is known as the core shadow.
And we'll talk more in detail about that as well.
It's pretty important part of the shadow.
And finally, there's a last part of the shadow.
Kind of want to introduce, and that's this little guy here, notice how this
part is really, really dark compared to this part in this part of the shadow.
And that's because this part is where the form, the ball touches
the table and no light can get in.
No light can get in.
So it's really, really dark, right?
No light can come in and bounce back.
Bounce back, bounce back, right like it does here.
Bounce back here and that's well this, this, this is this
second last part, actually.
And that's the it's called occlusion shadow.
Also known as contact shadow,
That's because when two forms touch two forms, touch the sphere
and the table, they create a point where light really can't get in.
No light can get in here.
So it's really, really dark.
It's the darkest part of the shadow, let me make a note of that darkest.
Oops, darkest part of shadow, darkest part of shadow.
And finally, the last part, this is the last part of the shadow.
I promise is the part of the shadow body where light comes from the light source.
In this case in the upper left and the environment light also comes back in.
It'd be there's other light sources here, maybe there's bright colored objects
here, where light can come in and reflect or make contact with the shadow itself
and seemingly lighten the shadow body.
Notice, it's a little bit lighter here than it is at the core shadow.
And that part is known as reflected light.
Reflected light also known as bounce light.
Another way to look at it.
That's because it literally is light from the light source, reflecting
off other surfaces and coming back into the shadow or bouncing off
surfaces back into the shadow.
So that's why it really becomes A lot lighter, depending on what's around it.
And depending there's a lot of variables, but depending on the color
of this object and the intensity of the light and what's around it.
But for example, in this example, these are light colored objects against a
fairly light colored imaginary sphere.
So a lot of light is coming back in, polluting the shadow.
In other words, the lightening, the shadow, which is reflected light.
And then those are the components of the shadow.
Now let's move into the light.
Let's start with the obvious.
The brightest parts and we have the shadow.
Now, we look in the light itself.
Now the brightest part.
Well, there's two brightest parts.
There's one, there's the bright, bright, bright part, but
there's the kind of bright part.
So this, the fairly bright part here, which is close to the light.
And this is the part of the sphere that receives the most light notice how
this is a lot brighter than over here.
This section is it gets close to the shadow and that's known
as light, simply known as light.
And this little part here that's really, really bright.
The part that I said, which is the paper, that's known as highlight.
The last part of the shadow or excuse me in the light is what's known as half tone.
And I like to think of this area right here.
I like to think of half tone as halfway between light and shadow.
So you noticed shadow's very dark, lights very bright, but there's the zone, right?
It's kind of the zone in between.
It's not quite, it's too bright to be shadow.
It's too dark to be light.
So this is simply known as half tone it's sometimes called mid
tone because right in the middle.
If I were to draw a diagram here of the value.
So that's, that's the light, that's the shadow right here.
That's the value right here, that's the value of the light right here.
So the half tone would be like, you know, somewhere between, see that
half tone, half tone, AKA mid tone.
Now we know the components of light and shadow, all the different elements, what
they are, how we can refer back to them.
Now, obviously, if you look at this, it's pretty complex, let's
simplify this a little bit.
Let's make it a little bit more manageable.
Cause all this stuff is like, ah, you know, lots of different values, half tone.
One basic way you can think about it is to group light and shadow into two
separate families with two separate parts.
And obviously the simplest way to do that is keep them grouped
together as either light or shadow a couple of different forms here.
So you can demonstrate this better.
And I'm going to start really simple, only using two groups, two
parts, basically light and shadow.
I'm going to leave the white of the paper
as a light side and I'm going to use a tone as the shadow side.
So there is my sphere.
Here's my cylinder and here is my cube or box.
And what's cool about this
is that here you can see, you know, my, my line drawing, right?
You can see I've, I've kind of drawn through because we
like, we, we like to do that.
We like to think in 3d always.
What's cool about this idea is that you can even break it down
or draw it as a graphic shape.
And you can get an, you can almost begin the three-dimensional get it
almost a three dimensional feeling.
And you see that cause your mind will fill in that sphere.
When you see that shape, it's really, really just using the
two values to light and shadow.
Same with this sphere or excuse me, this box.
Oh, this one needs a little bit more information, but you can kind of see
if you were to do this let's say,
right now you're starting to get a three-dimensional read almost
because your mind will fill in.
Right where there I drew it here.
And this one, I drew it, but this one you can start to feel it.
So that's, that's a cool part about thinking this way.
This is simple grouping light and shadow light and shadow, light and shadow.
No mistake, no differences between each one.
They don't really come together and that's, that's the key
to getting this nice, strong.
Um, read ability or rec recognition is that you always wanted to
keep the lights really light.
In this case, we kept it pure light and the darks really dark, you don't
ever want to go, you know, you don't ever want to make your shadow too
light and your lights too dark.
Otherwise you'll lose that illusion.
So that's, that's the key.
So this is the first way to think about it, basically, and really only two
values, something light, something dark.
Another, or in other words, something light, the light side of the form
and the shadow side of the form using only two valleys in this case.
Now the third way, the second way, excuse me, is that we can begin to
add half tone or mid tone and mid tone can take a couple of different forms.
So let's talk about that.
Now it's going to see uses and what else?
We'll explore value
in greater detail and there's also many, many great lessons on value.
Like I said, I learned a lot of this from Steve Huston.
You can find his lessons as well.
I get confused about the box here.
So now remember first idea, something light, something dark, the light
family and the shadow family.
We don't ever cross them.
Don't ever mix them up, keep them nice and dark so we get our
nice recognition or readability, graphic read, strong contrast.
Another way to think about it.
Now half tone is, remember we said between halfway between shadow and light.
And that's one way we can think about it.
We can use half tone to lead
viewer into the light too, to make our drawing come into the light, our form.
Coming into the lights of the, see how it starts to go from flat.
Now it goes, woo.
It starts to curve.
You see that?
Now see here, this is flat.
It's almost like a box, right?
The front face of the box, the front side of the box.
And then, it going right into light.
But when we add the half tone, start to turn the form.
Now it becomes a more rounded form.
You see that?
So that's one way to think of half tone.
And here the box form, let's say the latest here we can show the
face that's not quite in light.
The light is from above.
Not quite the top.
The top surface of this box is not quite the shadow side.
That's completely in shadow being blocked.
It's blocking the light, but somewhere in between.
And that's, that's the key to half-tone it's really remember
somewhere in between light and shadow.
So that's one way to think of half tone or one way we can use half
tone to help transition or turn the form or move from shadow to light.
Again using value to create this beautiful three-dimensional
forms, you see how it's all coming together so you can take your
beautiful form drawing, combine it with value and that is powerful.
Another way to think of the half tone.
You can almost think of it as adding a layer of depth, we'll cover this
too in other lessons, but I just want to touch on it briefly here.
Because if you want to show layer depth, what you can do is simply go
back to our two value idea or two families light and shadow, right.
Even though we added half tone, they're still clearly separate.
One is still clearly darker than the other one is still
clearly brighter than the other.
Then we can even add our half tone here to soften that egg form that
I got here, that little ball, and then we can even add half tone.
In this case we're making a little picture, a little
thumbnail, a little composition.
So you see that.
What that does, is it separates this shape or that part of our, my little thumbnail
from the surface, which is in light.
So that's another way you can use half, 200 pictorial sense.
And again, we'll go into this in greater detail and also you can see
many more lessons on using values and pictures in the library as well.
And the last way that I like to think about half tone is
in terms of reflected light.
So let me bring in our sphere one more time and our surface
here, shine the light.
So I always start this way.
Really it's a cool way to start.
I think of
- I think of a light side
or a light family of light group, the form of light and the shadow.
I kind of draw in the core shadow, which is the border, right?
Sometimes I start this way, making it hard and you saw how we made the half tone.
Adding the half tone made it softer.
That's kind of what I did here using half tone to make it softer.
And another way we can think of - and let me add some half tone back here,
just so you can see this diagram a little bit better, so you can see
the light side a little bit better.
Come off the paper a little bit.
We can think of the half tone as the shadow itself, because remember half
tone, isn't just, you know, let's say on a scale of one to 10, this is zero,
this is 10 is not necessarily 50, right?
It's it or shadow isn't necessarily have to be like, in this case, like
a number eight on a one to 10, let's say this is a pure black is 10.
This is like a number eight or a seven.
It doesn't have to be that dark, you know, it could be, it could, it could
be, a much lighter value, in terms of the full range of values you can
get, but relative to your picture or your idea, or your sketch or your
drawing, your thumbnail it's shadow.
So this is my shadow value.
It's not as dark as what we place here, but this relative to this image, to
this little sketch, this is shadow.
And then what we could do, draw my little diagram here.
So so far, I have light and shadow.
Now we can take this guy, put it back into our picture and to me,
the best place to put it in our picture is at the core shadow.
And I'll show you why in a minute.
So remember a lot of the shadow will receive bounced light, you know,
light source will come and boom, reflect black, reflect back into the
object or light from the environment.
The world will come back and lighten the shadow.
So instead of doing this, you know, we don't want to do that.
We don't ever want to erase the shadow.
It's typically not a good idea, especially if you're just, if you're brand new to
these concepts, that's a dangerous trap because cause remember we never want the
shadow to be as light as the light family, because then they won't be different.
They won't be different.
They'll be the same.
They will be different.
They'll be the same.
We'll talk more about that as well.
So I propose that a better strategy would be to take our, our darker value
and simply apply it to the core shadow.
You see that ? What that does.
I don't know if you can see it.
You see what's happening here?
What that does it's creating the illusion,
you see that, of bounced light.
You see that we went from ordinary idea kind of kind of a flat
idea adding more dramatic light, more dramatic, bounced light.
We can even take this and add it back into the occlusion.
Remember the occlusion is also known as the context shadow.
That's a part of the shadow.
It's the darkest part of the shadow where the ball touches or two objects make
contact and it's dark because obviously bounced light can't get in there.
It can't, it can't penetrate.
That's why it's so dark.
So you see how we have two ways to apply a simple three values idea, something
light, something dark, the light family, the dark family, and something in between.
So the third neighbor or a cousin, if there's a two families and we can apply
it in three different ways, this case we use the light or the halftone family,
um, in a pictorial way to create a background and a series sense of depth.
In this case, we, we reserved the dark side.
Basically we added, a dark to the shadow family and we're able to create
the effect of bounced light simply by correctly, or intelligently placing, a
ark into our scene into, our drawing here.
So that's components of light and shadow the anatomy of light and shadow.
Simple ways you can use it and apply it and get a lot of mileage out of it.
Simply two values, three values and ways you can use it.
Now let's define specifically what the laws of light are and how
they work and how we can use them.
So let's touch on the laws of light.
Now this topic has been covered in greater detail by the man who
taught it to me, Steve Huston.
So you definitely want to cover - review that it's in - it's
going to be in the library.
So I'm just going to briefly touch on them here cause I think
they're super, super important.
Now there's only two laws of lights, so that's the good news.
The first is
different value equals
And remember, the plane is the flattening of a curved surface.
And number two is everything
light is also a source of light.
Everything that receives light is also a source of light,
different value, different planes.
So what does that mean?
So remember that we like to simplify our values.
And that's really the cool thing about laws of light.
It helps you simplify the complexity of light, light is extremely
complex, value's extremely complex.
So this is a great way if we can begin to remember, we like to simplify
things into two values, like shadow.
Now in terms of form when we add a value, let's say we're drawing a simple box idea
or like a curved piece of paper, a bent piece of paper.
When we add
a value to something we're basically saying that this plane or this
surface is curved away from the light.
And that's the one thing too, you want to keep in mind, you always want to be
aware of where your light source is.
Then we add one more value we can say this is a box here,
We've basically told our viewer that we have two planes, at least two planes here.
We have three, a light facing plane, and then boom it turns at a corner in
the shadow plane, flattening a form.
so we're going from light, turn the corner into shadow.
So whenever we add another value to our drawing, we're basically telling the
viewer that, Hey, there's a corner here.
And remember the corner is also known as the core shadow or the border.
Corner is the border.
That's one way you can think about it.
Now in terms of - in terms of three values,
something light, something dark and something in between,
or light shadow, half tone.
Again, different value equals different plane.
So we have a form like facing plane.
We have half tone plane, shadow plane.
You see that?
Light facing plane, half tone plane, light facing plane,
half tone plane, shadow plane.
Notice three distinct values communicate three distinct forms.
And you know, it doesn't just have to work in this instance.
I'll just show you another quick example.
One of my favorite examples is the cube we've draw the cube
a few times, one or two times, right guys remember?
Went over this a lot.
Let's say the light source is.
Here slightly up into the left.
Now we know this side
including the cast shadow.
Now this, this top plane is light, but this side plane isn't
quite light, isn't quite shadow.
So once we add a tone, it makes it halfway between the shadow plane and
the light planes, we communicate that it's another plane, different value
equals different plane, different value equals different plane, right?
Different value equals different plane.
You see that?
And the natural conclusion to this idea is that remember that planes
are theoretical flattening of two dimensional or curved form curved surface.
So as you can see value and differences in value can help us communicate form.
This simple little idea can help us communicate a cylindrical curve form.
In this case, you see this little simple idea
of three value, light, dark and half tone can help us communicate a box in light.
This little basic idea of light and dark can help us communicate
a box with a sharp corner, sharp turn, and this helps us communicate
basically a curved surface that has a curve or softer, more subtle term.
So you see that?
Different value equals different plane and you see how it can evolve.
But as long as we understand that when we draw, when we draw, every time we
introduce a value, we are subconsciously telling our audience, telling our viewer,
telling the people we want to look at our drawings that we have created
We have created another plane.
We have created another plane.
You see that we have created another plane.
Half tone plane of space.
Light the form in light, dark the form, turning away, plain change, corner core
shadow corner, new plane, different shadow, a different value, different
planes, different value, different planes.
You with me, are you with me?
You feeling me?
You see that different value, different plane, different value, different planes.
So we can take it as smooth as a cylinder.
We can take it as faceted as a diamond, smooth as a cylinder,
faceted like a diamond.
But remember, every time you introduce a value, you really introducing a plane.
That's the key to keep in mind.
And that's the power of the loss of life, because we can get here by starting here.
You understand, once we start here, get this to work, we can slowly add fastest
to a diamond by adding different values to create the curved realistic form
illusion that we so desperately want.
All right, law of light number two, everything that receives
light is also a source of light.
So what that means, one way that we can explain is going back to
our object here on a surface.
Now remember different parts of the shadow.
Let's say this is.
Little form in light, little sphere in light.
- remember how we talked about that?
The shadow body itself will receive reflected light.
And one of the ways that this diagram, our little drawing
is getting that reflected light
is from the surface itself is from the surface itself.
And what I mean by that
- let me light this up a little bit here, help me see better
- is that the surface remember, I mentioned that we have a light source.
Not only is light from the environment coming in, possibly other light sources,
but also light is smacking, hitting this, making contact with the surface and the
surface is bouncing it back, bouncing it back, which pollutes the shadow.
Remember how the shadow body becomes lighter, but yet their
contact stays nice and dark that's because the contact receives no
no light, therefore it's not a source of light.
Everything that receives light is also a source of light.
Everything that receives light, including the surface that our
subject is on is a source of light.
Now it's not as strong as a direct light, right?
It's much more diffused, let's say on a scale of one to 10.
big bright spotlight here is a one it's the white of the paper.
You know, maybe the bounced light is diffused.
Maybe it's like a one.
So it'd be this light coming in.
Therefore this light being reflected, therefore the surface
itself is a source of light.
It's not as strong as the direct light, but is the source of light.
Transcription not available.
So let's start by looking at this mug here.
He's got the axes here.
We've got the cross contours showing the form.
So let's look at the direction the light is coming from.
Maybe we'll go ahead and just indicate that.
So it looks like it's coming from that upper left.
So some things we want to observe are,
let's see, obviously the direction we want to check and see what that edge
looks like and the way we know how sharp or how soft to make an edge is the degree
to which the form is literally turning.
For something that's going to turn sharply we'll find that edge is, is really
definite and, and a little bit sharper.
And when it's gradual, we'll find it's got kind of that gradient kind
of that smooth transition, a little bit longer and softer eye area.
So if we look at the mug, we see that just right around that halfway
mark, maybe a little in front.
We start to see that transition from where the light's hitting strongly to where
this is facing away from the light source.
So when we want to describe a form, that's turning slowly like that,
a round form, a cylindrical form.
We want to make it a soft transition.
It's more, almost a zone than it is a specific line.
And then just kind of flipping back and forth between a little soft or graphite.
A little harder graphite.
All right, making that nice and soft as it wraps around, we might
want to emphasize the core shadow and just beef it up a little bit.
The darkest place on the shadow of a form is where that light starts to dissipate
and it starts to transition away.
We'll find that the surface facing away from the light might get a little
bounce light or reflected light back in.
And if we darken this it'll show that effect of a core and then
a little bit of reflected light coming in from the backside.
Get that nice and smooth.
So you see that kind of a gradient here.
We might also want to look at inside this lid here.
Just get a little of that.
So we start to see the light is not reaching the inside of the lip here.
And it's falling in on the side here.
This is a really soft transition it looks like to me.
So we'll get that finger in there and kind of smooth it out that gray.
All right . Something else we want to look at is the shadow that it's casting.
So the form shadow is falling on the object and the cast shadow
is what's falling behind it.
It's blocking it out like, like a shadow puppet.
So this is the shadow it's leaving on the ground and we see the
direction is headed off this way.
And let's make some notes about what you observe on the edges here.
It looks like it's pretty sharp at first, right here, closest to the object.
This is just pretty sharp and pretty well-defined.
If you look behind it, especially off the other side here, that edge looks a
lot softer to me, and that might have to do with some more of that bounce light
coming in that reflected light coming in.
So what we'll want to make sure to do is start with a harder edge here
and then start to soften it as it goes away, way from the
object and towards the back.
Might get a little duller pencil for that.
So let's keep this edge soft.
And as we get her out further away, more, that light is going to be
balancing in from other sources too.
So it starts harder and get softer.
So we've noted some differences between a shadow that's falling on a form,
showing it bending away from us and a shadow created by the form, blocking the
light source from reaching behind it.
We've also noted to look for the edges, which can vary depending on the degree
of turnaround, the radius here, which in this case is a gradual cylinder.
And then we've noted with a cast shadow, how the edge can be softer.
The further you get away away from the object, but really tight
and defined right at the source.
Now, the hammer has some interesting differences where the top part of the
shaft here is actually more squared off.
Coming across and down at a sharp turn.
Whereas the grip part of the handle has a little more of a gradual treatment.
And we see that here in Chris's cross contour.
The head also has some interesting variety while some edges are sharp,
there is a little more, a little more gradual turn of the form of this cylinder
here, although, because that material is so metallic that highlight actually
reads is pretty defined versus where the mug was a little more matte and
that edge turned a little more softly.
So if we're going to add the shadow to the hammer, we might note that the
edge of where this turns is fairly, fairly clean and fairly, fairly sharp.
And then as we get to the grip, we might want to soften it
to show a more gradual turn.
Let's go ahead and check it out.
It's also got some interesting kind of dips and dives.
So if you're looking at the reference, we'll try to stay true to that.
Kind of flares a little and pinches, and then let's follow right along here.
Coming up and we'll kind of mimic the shape here.
And then it starts to get probably a little sharper as it reaches
this end, which is much more geometric than this cylindrical end.
So maybe a little sharper and then a little softer.
Now this is a shadow falling on the form.
And so it will have a core and we might want to darken that a little
bit there and then we'll let it fall into that shadow side here.
Now, it doesn't look like too much light is hitting this end.
Let's go ahead and get that in.
And it looks like it's a fairly defined, maybe not super hard or
super soft, but maybe it's, it's kind of a firmer firmer edge here.
Maybe something like that,
kind of think of edges on a, on a sliding scale.
Hard to soft, sometimes lost completely.
So maybe this is hard.
Maybe this is softer.
And then maybe it's a little on the firmer side here.
If we look down the shaft to the more geometric plane, it actually looks like
it's pretty firm as well.
Maybe we even leave the line that, that Chris is here and see if that reads.
As we get to the head
it looks like there's a little bit of a highlight hitting on this blade here.
So we'll go ahead and note, this is in shadow,
but maybe we'll leave a little bit
for that fun highlight.
Now this is actually lit, but because when we squint, we see it as a darker value.
It, it actually sort of blends into that same color.
Since we are looking specifically at light and shadow, we may want to leave
it light because the light is hitting it.
But since I really want to show off the plane here where the reflected
light is bouncing, let's go ahead and, and just add a value to it.
Knowing that it's probably the lit, but because of the way the lights
hitting, we're seeing that local color and it's looking a little dark.
This area we see is also in shadow.
Now there's a plane that's running through here.
Maybe we'll follow Chris's line and then we'll see a plane change happening
right about there.
So this side is falling into that darker value.
The edge here is pretty well-defined, it's turning fairly abruptly.
This edge is a little softer on the, on the cylinder, but again,
with that metallic color it's it's showing pretty, pretty strongly.
So we just want to maybe soften it a little bit.
You guys may notice that there's a significant increase in complexity
comparing this household object to this household object, and you might find
there's more than one way to do it.
And that's part of the fun.
It's, it's a really good puzzle to give yourself, you know, to set something
down, you'll start to realize that
it's not just light shadow, but different textures you know,
metallics versus mattes, all kinds of things can affect light and dark.
And it's really hard to find a vacuum where you can study just light and
shadow without also dealing with the materials of a particular object.
Some things are shiny and reflective.
Some things are absorbent, some things are painted.
Yellow and green and somethings have a dark finish.
So there is a difference between shadow and dark, all things that are
dark aren't necessarily shadow for now, just picking up these objects
and practicing and keeping those questions in your head is great.
It's a great start.
And a lot of those questions that are more complicated will be answered.
The further you get into your lessons.
Let's finish this guy off with the head here, and this is a pretty, pretty firmer
sharp edge where it's going to turn.
I'm just going to drop that into shadow.
And then it's casting a shadow, right?
We've described the form, but let's look at the shadow it's casting.
It might be a little sharper towards the origin, and then we see it.
Maybe get a little softer as it moves away, keeping in mind the direction,
trying to keep that graphite soft.
And there's a pretty soft edge following along here.
It kind of tracks that contour that Chris has fully laid in for us.
And then this maybe gets a little bit sharper.
And I see this gets a little bit softer here.
And as you're doing this just, you know, think about why, when you
look for these things, see if you can understand what's causing that.
If there's a sharp edge, if there's a soft edge, take some notes.
And as we get further away,
see that lighten up.
So that was a good, fairly complex one.
That's going to get you thinking.
I mean, you could even look at this grip and think, well, that local
color is dark, it's a dark grip and it's dark with light hitting it.
So you get to make a call.
Do you want to push it into light or push it into dark.
And again, dark doesn't mean the same thing as shadow.
Looking at our reference we see there's a nice turn where the corner
here goes from light to shadow.
And it's really interesting because it starts flat and, and cylindrical.
So this'll be a fun opportunity.
Looking at the light looks like the light is again coming
from the similar direction.
So, what do we notice as we look at the form shadow to start.
To me, it's, it's hardest edged here at this crease where it's
sort of hitting that flat plane.
As we come down, we're transitioning from flat to cylinder and it's obvious to us
because Chris has got this nice flat edge here, this sharp corner, showing that.
And then he's got these curves going around.
These cross contours are showing that this form is cylindrical.
So with that read in mind, let's look at where this edge starts.
If we want to take it from the corner, maybe I'll use my sharper pencil.
Yeah, that's nice.
So it comes in at an angle here.
Kinda starts to change
direction coming down this way towards the center and then here it, it
really starts to get softer I think.
So let's see if we can indicate that.
Maybe hardest here.
A little firmer.
And then I'm going to switch to my baseball bat.
The one that's really dull.
And just see if we can describe that
with a broader edge, broader and softer.
Maybe we'll get it a little darker to show that this is the core.
A little softer here.
play some even tone if we can.
Let's get a little careful towards the bottom edge here.
That looks really gradual there to me, take a finger to it.
And again, there's a difference between things that are locally, dark and shadow.
This cap happens to be dark and color.
So while light may or may not be hitting it, it's, it's a darker, local value.
We're going to talk about this more later.
For now I'm going to stay true to the reference and go
ahead and hit it with that
And the shadow that's being cast.
We noticed in the reference it's obstructed, but let's use a clue to
see if we can figure out how it works.
I would look, I found one.
There's a cylinder.
Let's imagine that to a smaller degree, this shape is pretty much the shape.
It's just a smaller scale.
So we wanted it a little sharper here.
It got a little, let's just try that.
Try using the secondary reference.
So we're using that secondary reference to guess how this might look, if we
could see the whole image and you can kind of see the back of it, it doesn't
go all the way up this edge here.
It kinda hits about there.
So we would say it's probably sharpest towards the source and
then it probably gets lighter.
I don't mean lighter.
It's probably a sharpest towards the source and get softer at its
extreme stream edge, which is for the, just from the object.
And that's because at this point other light sources are
going to bounce back into it.
There's probably an even bigger shadow that would be cast by the whole tube.
And maybe we want to just go ahead and, and invent something.
Along that same direction.
And because it's going to start off wider and taper to something thin.
If we looked at it from the side, I'm just gonna kind of wing it.
And then let's have it get thinner.
Thin and soft.
Or we can draw a totally other object there.
Like it isn't a still life and never have to deal with it, but
that's, that's not a terrible guest.
I think this could have potentially more volume to it.
We could play with that.
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1. Learning Recommendation24sNow playing...
1. Introduction to Light & Shadow3m 55sNow playing...
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2. Components of Light and Shadow12m 21s
3. Rendering Simple Forms in Light and Shadow14m 56s
4. The Laws of Light13m 1s
5. Learning Recommendation24s
6. Rendering the Mug with Light and Shadow7m 14s
7. Rendering the Hammer in Light and Shadow12m 8s
8. Rendering the Paint Tube with Light and Shadow6m 33s