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.com Drawing Lesson A Theory of Light and Shade Posted By rserpe On August 4, 2009 @ 2:32 pm In Drawing | 35 Comments
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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 she studied, emphasized strong drawing and painting skills. Sheri is a faculty member of Salt Lake Community College and Petersons Art center where she teaches Fine Art and Design. Sheris 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 [C.P.S.A.]. Sheris artwork has been published in numerous books including The Encyclopedia of Colored Pencil Techniques by Quarto Publishing, London England;Most of The Best of Colored Pencil series by Rockport Publishers, Creative Colored Pencil Techniques by Rockport Publishers, Creative Colored Pencil Portraits byris art work is included is Rockport Publishers and The Best of Portrait Painting by North Light Books, Dear Sisters by Covenant Communications Inc. Sheris artwork is published on book covers, in newspapers, periodicals, and exhibit catalogues. People have been known to say, She possesses a unique ability to paint the breath of life into her subjects a gifted talent. 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: The art professors under whom I studied had us draw and paint from live models and open air 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
nners Art Instruction Blog Online Drawing Lesson - A Theory of Light and Sha 11/3/12
training I received from my teachers. I have married the use of photography and live studies to create my 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. Thirty years of study and experience in this field has taught me that talent isnt 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 Heavens influence. When I pray about what I paint, I can feel His help and guidance. sheri doty bio bttm
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Follow this link to visit Sheris website to view more of her work and to learn more about her. [3]
A Theory of Light and Shade January 2009 Sheri Lynn Boyer Doty
All Illustrations for a theory of light and shade are by Sheri Doty accept for Manets painting The Railway showing an undefined light source. Before you undertake your practice of the use of light and shade in your art you 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 the contrast between light and dark is one of the most expressive and important means of composition. Value contrast can be encountered in both colorful and non-colorful art renderings. All neutral tones 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 the relationship of value to other art elements, color, line texture and shape. All these elements must exhibit some value contrast in order to remain visible.
nners Art Instruction Blog Online Drawing Lesson - A Theory of Light and Sha 11/3/12
perceived by the viewer. Most people have difficulty perceiving figure-ground relationships. When the same medium toned figure is placed on varied light and dark backgrounds, it will be perceived to be as a different value. Example: When a medium gray is placed on a near black background, the mid-gray tone appears very light. When the same gray tone is placed on a near white background, it is perceived to be very dark. But when a mid gray tone is placed on a similar value background, the contrast is minimal. Note how the same mid-tone value patch looks different when placed 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 Dark Ages. Men of the Renaissance considered their time period to be the Age of Reason and rebirth of artistic and mathematical achievements. Renaissance artists manufactured the term Chiaroscuro to describe how light and dark can imply depth and volume. The word Chiaroscuro is a combination of two Italian words that mean light and dark. (chiaro (clear, light) + oscuro (obscure, dark) Atmospheric or Ariel perspective was one of the artistic strategies used in the study of Chiaroscuro during the Renaissance. (Atmospheric or Ariel perspective is covered in depth in the section Objective Color Harmony.)
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Intuitive Space is merely a trick the artist uses to create depth on a two dimensional surface.
Intuitive space is merely the illusion space created by using artistic methods to trick the viewer into seeing
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nners Art Instruction Blog Online Drawing Lesson - A Theory of Light and Sha 11/3/12
depth, volume and mass on a two dimensional surface. Intuitive space is sensed or felt on a two dimensional plane. Intuitive methods of space control include overlapping, transparency, and other applications of spatial proportion. In a Theory of Light and Shade I will show how to create intuitive space by using Light Logic. Light Logic refers to how light interacts with objects. Light Logic is the term Betty Edwards uses in her book The NewDrawing on the Right Side of the Brain
Light Logic and the Rendering of Three Dimensional Objects onto a Two Dimensional Surface.
You will make your art more believable when you keep these basics in mind.
Cast Shadow
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When an object blocks a light source it casts a shadow. A cast shadow is not a solid shape but varies in tone and value. The farther a cast shadow is from the object which casts it the lighter and softer and less defined becomes its edges.
Form Shadow
A form shadow is the less defined dark side on an object not facing the light source. A form shadow has softer less defined edges than a cast shadow. Form shadows are subtle shadows essential for creating the illusion of volume, mass and depth. The changes in form shadows require careful observation quinting at the subject to see value definition affected by figure-ground making value relationships clearer.
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Reflected light
If the object being painted is sitting on a white table, the light from the table reflects back onto the object and makes the shadow side lighter. If the object of the painting is resting by something black or dark, the middle values will become a dark reflection. The concept also holds true when the object of the painting is sitting on a colored surface. 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 late afternoon or early evening), and short cast shadows are cast from over head (as from a noonday sun). The shape a shadow casts depends on the shape of the object casting it and how closource is to the object.
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The vocabulary used to describe cast shadows in art come from shadow descriptions in astronomy. The umbra, penumbra and antumbra are the three distinct names given to the description of shadows cast by heavenly bodies. The umbra is the darkest part of a shadow considered the absence of light. The penumbra is a lighter outer shadow where the object is only partially obscuring the light. The antumbra is more obscure. When it is visible it seems to extend out from the penumbra in a lighter and less distinct way.
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The Cube
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Click Image For Larger View Too many complex cast shadows can be confusing. Such objects can be rendered by blurring the edges.
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Manets Painting, The Railway shows value contrast in composition, but the sense of shallow space is emphasized by a lack of a single light source.
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standard light conditions into unexpected lighting locations creates unusual and special effects. This style is used today byphotographers.
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.
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Click Image For Larger View An 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 or more simply to create a design.Notan The Dark-Light Principles of Design by Dorr Bothwell and Marlys Mayfield Lao-Tse wrote a poem that to me simply 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.
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nners Art Instruction Blog Online Drawing Lesson - A Theory of Light and Sha
The Principle: Matter represents the usefulness Non-matter the essence of things. Poem taken from Johannes Ittens book Design and Form, Revised Edition Basic Course at the Bauhaus and Later, John Westly & Sons, INC, page 13
Value as Pattern
Controlled shallow space is illustrated by the early cubists such as Picasso and Braques. Their paintings are taken from realistic subject matter and abstracted into unified flat tonal planes. The planes are shaded individually with the semi-illusion of space with no light source. Later, each plane takes on characteristic value combined with other planes with the same style of value pattern. This produces a carefully conceived two dimensional pattern of light and dark values. The shallow space develops a three dimensional effect through the characteristics of the advancing and receding values.
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nners Art Instruction Blog Online Drawing Lesson - A Theory of Light and Sha 11/3/12
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