How to Draw & Shade Objects & Things Under Different Lights with the Following Drawing & Shading Lesson

THE SAME SUBJECT UNDER DIFFERENT LIGHTS.

The illustrations studied have represented the effects due to a studio, the light coming from the left and from above and behind the spectator. We will now compare the effects produced upon the same objects by lights from different directions and of different kinds and strengths.

Light at the side.

Fig. 8 represents a group of white drawing models placed in a studio upon a shelf and against a background covered with dark gray cartridge paper, the light coming from above at the left and slightly behind the spectator. The effects of light and shade upon the different objects are such as have been described. but owing to the imperfections of the photograph and its reproduction. the gradations in the masses of light upon the different objects are not well expressed. Thus the left-hand contour of the cone should be darker than any element between it and the glitter element. This element does not appear. but should be about as far from the left contour as the shadow element is from the right contour and the shade upon the sphere should gradually increase in strength from the hr_gh toward the contour in all directions : and that upon the cylinder should increase from the lightest element, which is about midway between the contour elements, toward the contour elements in both directions. The figure does not show that one of the lights of the group is lighter than all the others, and one of the darks is darker than all others, but it does give the effect of the principal masses of light and dark which it should be the first aim of the student to obtain.

Cast shadows show forms of objects.

The cast shadows of the plinth, the sphere, and the cube upon the cylinder show the form of the cylinder and also the forms of the different objects casting the shadows. The shadow of the pencil upon the vertical side of the plinth extends very faintly towards the shadow of the pencil upon the foreground, for the rays of light causing the shadow cross each other as explained on page r r, so that the shadow is dark only very near the pencil.

Narrow shadows must be represented.

The plinth does not rest evenly upon the shelf, so that we see under it slightly at the central part of the light side, and a narrow shadow is produced. This shadow is lightened by diffused light from the strong light rays sent to the eye from the surrounding parts, but it is an important detail and should be represented ; and the advice which is given on page 99 to avoid outlines does not refer to such a place as this where the effect of an outline is given by a narrow shadow or by a narrow edge which catches the light.

Studio lights give soft shadows.

The cast shadow of the cone on the background illustrates the fact that with a studio light the crossing rays from a large window so soften the shadows that often they do not suggest the forms of the objects which cast them. /,

Foreground lighter than background.

The mass of the light of the foreground is lighter than that of the background, and illustrates the usual effect of the values when foreground and background are of the same material and color. The foreground is lighter because it generally reflects more light to the eye, and also because it collects in a short time dust which lightens its effect, unless the foreground is very light. The value due to dust should be represented, as it can hardly be kept away from a subject to be studied several times.