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- Art Instruction For Beginners ndash Art Instruction Blog Online - httpwwwartinstructionblogcom -
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
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
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
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
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]
Click Image For Larger View
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
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
514wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
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]
Click Image For Larger View
[7]
Click Image For Larger View
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
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
614wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
[8]
Click Image For Larger View
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]
Click Image For Larger View
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]
Click Image For Larger View
Light Source Cast Shadows and the Axis
[11]
Click Image For Larger View
Cast Shadows The Sphere
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
814wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
Click Image For Larger View
The Cube
[12]
Click Image For Larger View
The Cylinder and Cone
[13]
Click Image For Larger View
More on Cast Shadows
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
914wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
Click Image For Larger View
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]
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1014wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
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
Click Image for Larger View
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]
Click Image for Larger View
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]
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1114wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
standard light conditions into unexpected lighting locationscreates unusual and special effects This style is used todaybyphotographers
Click Image For Larger View
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]
Click Image For Larger View
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]
Click Image For Larger View
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]
Click Image For Larger View
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1314wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
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
[6] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_3jpg
[7] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_4jpg
[8] Image httpwwwartinstructionblogcomwp-contentuploads200908missingpicgif
[9] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_6jpg
[10] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_7jpg
[11] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_8jpg
[12] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_10jpg
[13] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_11jpg
[14] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1414wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
2009_img_13jpg
[15] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
2009_img_14jpg
[16] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_16jpg
[17] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_17jpg
[18] Image httpwwwartinstructionblogcomwp-contentuploads200908yenyangexplinationjpg
[19] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_19jpg
[20] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
2009_img_20jpg
Click here to print
Copyright copy 2008 Art Instruction For Beginners - Art Instruction Blog All rights reserved
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
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
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
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
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]
Click Image For Larger View
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
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
514wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
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]
Click Image For Larger View
[7]
Click Image For Larger View
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
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
614wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
[8]
Click Image For Larger View
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]
Click Image For Larger View
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]
Click Image For Larger View
Light Source Cast Shadows and the Axis
[11]
Click Image For Larger View
Cast Shadows The Sphere
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
814wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
Click Image For Larger View
The Cube
[12]
Click Image For Larger View
The Cylinder and Cone
[13]
Click Image For Larger View
More on Cast Shadows
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
914wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
Click Image For Larger View
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]
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1014wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
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
Click Image for Larger View
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]
Click Image for Larger View
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]
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1114wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
standard light conditions into unexpected lighting locationscreates unusual and special effects This style is used todaybyphotographers
Click Image For Larger View
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]
Click Image For Larger View
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]
Click Image For Larger View
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]
Click Image For Larger View
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1314wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
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
[6] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_3jpg
[7] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_4jpg
[8] Image httpwwwartinstructionblogcomwp-contentuploads200908missingpicgif
[9] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_6jpg
[10] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_7jpg
[11] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_8jpg
[12] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_10jpg
[13] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_11jpg
[14] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1414wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
2009_img_13jpg
[15] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
2009_img_14jpg
[16] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_16jpg
[17] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_17jpg
[18] Image httpwwwartinstructionblogcomwp-contentuploads200908yenyangexplinationjpg
[19] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_19jpg
[20] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
2009_img_20jpg
Click here to print
Copyright copy 2008 Art Instruction For Beginners - Art Instruction Blog All rights reserved
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
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
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
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]
Click Image For Larger View
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
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
514wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
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]
Click Image For Larger View
[7]
Click Image For Larger View
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
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
614wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
[8]
Click Image For Larger View
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]
Click Image For Larger View
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]
Click Image For Larger View
Light Source Cast Shadows and the Axis
[11]
Click Image For Larger View
Cast Shadows The Sphere
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
814wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
Click Image For Larger View
The Cube
[12]
Click Image For Larger View
The Cylinder and Cone
[13]
Click Image For Larger View
More on Cast Shadows
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
914wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
Click Image For Larger View
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]
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1014wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
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
Click Image for Larger View
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]
Click Image for Larger View
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]
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1114wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
standard light conditions into unexpected lighting locationscreates unusual and special effects This style is used todaybyphotographers
Click Image For Larger View
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]
Click Image For Larger View
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]
Click Image For Larger View
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]
Click Image For Larger View
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1314wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
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
[6] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_3jpg
[7] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_4jpg
[8] Image httpwwwartinstructionblogcomwp-contentuploads200908missingpicgif
[9] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_6jpg
[10] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_7jpg
[11] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_8jpg
[12] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_10jpg
[13] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_11jpg
[14] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1414wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
2009_img_13jpg
[15] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
2009_img_14jpg
[16] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_16jpg
[17] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_17jpg
[18] Image httpwwwartinstructionblogcomwp-contentuploads200908yenyangexplinationjpg
[19] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_19jpg
[20] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
2009_img_20jpg
Click here to print
Copyright copy 2008 Art Instruction For Beginners - Art Instruction Blog All rights reserved
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
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]
Click Image For Larger View
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
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
514wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
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]
Click Image For Larger View
[7]
Click Image For Larger View
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
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
614wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
[8]
Click Image For Larger View
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]
Click Image For Larger View
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]
Click Image For Larger View
Light Source Cast Shadows and the Axis
[11]
Click Image For Larger View
Cast Shadows The Sphere
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
814wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
Click Image For Larger View
The Cube
[12]
Click Image For Larger View
The Cylinder and Cone
[13]
Click Image For Larger View
More on Cast Shadows
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
914wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
Click Image For Larger View
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]
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1014wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
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
Click Image for Larger View
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]
Click Image for Larger View
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]
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1114wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
standard light conditions into unexpected lighting locationscreates unusual and special effects This style is used todaybyphotographers
Click Image For Larger View
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]
Click Image For Larger View
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]
Click Image For Larger View
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]
Click Image For Larger View
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1314wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
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
[6] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_3jpg
[7] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_4jpg
[8] Image httpwwwartinstructionblogcomwp-contentuploads200908missingpicgif
[9] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_6jpg
[10] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_7jpg
[11] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_8jpg
[12] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_10jpg
[13] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_11jpg
[14] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1414wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
2009_img_13jpg
[15] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
2009_img_14jpg
[16] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_16jpg
[17] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_17jpg
[18] Image httpwwwartinstructionblogcomwp-contentuploads200908yenyangexplinationjpg
[19] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_19jpg
[20] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
2009_img_20jpg
Click here to print
Copyright copy 2008 Art Instruction For Beginners - Art Instruction Blog All rights reserved
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
514wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
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]
Click Image For Larger View
[7]
Click Image For Larger View
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
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
614wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
[8]
Click Image For Larger View
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]
Click Image For Larger View
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]
Click Image For Larger View
Light Source Cast Shadows and the Axis
[11]
Click Image For Larger View
Cast Shadows The Sphere
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
814wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
Click Image For Larger View
The Cube
[12]
Click Image For Larger View
The Cylinder and Cone
[13]
Click Image For Larger View
More on Cast Shadows
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
914wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
Click Image For Larger View
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]
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1014wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
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
Click Image for Larger View
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]
Click Image for Larger View
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]
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1114wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
standard light conditions into unexpected lighting locationscreates unusual and special effects This style is used todaybyphotographers
Click Image For Larger View
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]
Click Image For Larger View
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]
Click Image For Larger View
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]
Click Image For Larger View
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1314wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
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
[6] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_3jpg
[7] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_4jpg
[8] Image httpwwwartinstructionblogcomwp-contentuploads200908missingpicgif
[9] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_6jpg
[10] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_7jpg
[11] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_8jpg
[12] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_10jpg
[13] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_11jpg
[14] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1414wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
2009_img_13jpg
[15] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
2009_img_14jpg
[16] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_16jpg
[17] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_17jpg
[18] Image httpwwwartinstructionblogcomwp-contentuploads200908yenyangexplinationjpg
[19] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_19jpg
[20] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
2009_img_20jpg
Click here to print
Copyright copy 2008 Art Instruction For Beginners - Art Instruction Blog All rights reserved
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
614wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
[8]
Click Image For Larger View
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]
Click Image For Larger View
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]
Click Image For Larger View
Light Source Cast Shadows and the Axis
[11]
Click Image For Larger View
Cast Shadows The Sphere
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
814wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
Click Image For Larger View
The Cube
[12]
Click Image For Larger View
The Cylinder and Cone
[13]
Click Image For Larger View
More on Cast Shadows
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
914wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
Click Image For Larger View
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]
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1014wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
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
Click Image for Larger View
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]
Click Image for Larger View
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]
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1114wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
standard light conditions into unexpected lighting locationscreates unusual and special effects This style is used todaybyphotographers
Click Image For Larger View
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]
Click Image For Larger View
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]
Click Image For Larger View
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]
Click Image For Larger View
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1314wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
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
[6] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_3jpg
[7] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_4jpg
[8] Image httpwwwartinstructionblogcomwp-contentuploads200908missingpicgif
[9] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_6jpg
[10] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_7jpg
[11] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_8jpg
[12] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_10jpg
[13] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_11jpg
[14] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1414wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
2009_img_13jpg
[15] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
2009_img_14jpg
[16] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_16jpg
[17] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_17jpg
[18] Image httpwwwartinstructionblogcomwp-contentuploads200908yenyangexplinationjpg
[19] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_19jpg
[20] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
2009_img_20jpg
Click here to print
Copyright copy 2008 Art Instruction For Beginners - Art Instruction Blog All rights reserved
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]
Click Image For Larger View
Light Source Cast Shadows and the Axis
[11]
Click Image For Larger View
Cast Shadows The Sphere
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
814wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
Click Image For Larger View
The Cube
[12]
Click Image For Larger View
The Cylinder and Cone
[13]
Click Image For Larger View
More on Cast Shadows
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
914wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
Click Image For Larger View
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]
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1014wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
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
Click Image for Larger View
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]
Click Image for Larger View
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]
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1114wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
standard light conditions into unexpected lighting locationscreates unusual and special effects This style is used todaybyphotographers
Click Image For Larger View
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]
Click Image For Larger View
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]
Click Image For Larger View
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]
Click Image For Larger View
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1314wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
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
[6] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_3jpg
[7] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_4jpg
[8] Image httpwwwartinstructionblogcomwp-contentuploads200908missingpicgif
[9] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_6jpg
[10] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_7jpg
[11] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_8jpg
[12] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_10jpg
[13] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_11jpg
[14] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1414wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
2009_img_13jpg
[15] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
2009_img_14jpg
[16] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_16jpg
[17] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_17jpg
[18] Image httpwwwartinstructionblogcomwp-contentuploads200908yenyangexplinationjpg
[19] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_19jpg
[20] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
2009_img_20jpg
Click here to print
Copyright copy 2008 Art Instruction For Beginners - Art Instruction Blog All rights reserved
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
814wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
Click Image For Larger View
The Cube
[12]
Click Image For Larger View
The Cylinder and Cone
[13]
Click Image For Larger View
More on Cast Shadows
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
914wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
Click Image For Larger View
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]
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1014wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
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
Click Image for Larger View
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]
Click Image for Larger View
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]
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1114wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
standard light conditions into unexpected lighting locationscreates unusual and special effects This style is used todaybyphotographers
Click Image For Larger View
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]
Click Image For Larger View
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]
Click Image For Larger View
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]
Click Image For Larger View
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1314wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
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
[6] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_3jpg
[7] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_4jpg
[8] Image httpwwwartinstructionblogcomwp-contentuploads200908missingpicgif
[9] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_6jpg
[10] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_7jpg
[11] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_8jpg
[12] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_10jpg
[13] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_11jpg
[14] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1414wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
2009_img_13jpg
[15] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
2009_img_14jpg
[16] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_16jpg
[17] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_17jpg
[18] Image httpwwwartinstructionblogcomwp-contentuploads200908yenyangexplinationjpg
[19] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_19jpg
[20] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
2009_img_20jpg
Click here to print
Copyright copy 2008 Art Instruction For Beginners - Art Instruction Blog All rights reserved
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
914wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
Click Image For Larger View
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]
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1014wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
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
Click Image for Larger View
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]
Click Image for Larger View
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]
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1114wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
standard light conditions into unexpected lighting locationscreates unusual and special effects This style is used todaybyphotographers
Click Image For Larger View
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]
Click Image For Larger View
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]
Click Image For Larger View
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]
Click Image For Larger View
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1314wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
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
[6] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_3jpg
[7] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_4jpg
[8] Image httpwwwartinstructionblogcomwp-contentuploads200908missingpicgif
[9] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_6jpg
[10] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_7jpg
[11] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_8jpg
[12] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_10jpg
[13] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_11jpg
[14] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1414wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
2009_img_13jpg
[15] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
2009_img_14jpg
[16] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_16jpg
[17] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_17jpg
[18] Image httpwwwartinstructionblogcomwp-contentuploads200908yenyangexplinationjpg
[19] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_19jpg
[20] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
2009_img_20jpg
Click here to print
Copyright copy 2008 Art Instruction For Beginners - Art Instruction Blog All rights reserved
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1014wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
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
Click Image for Larger View
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]
Click Image for Larger View
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]
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1114wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
standard light conditions into unexpected lighting locationscreates unusual and special effects This style is used todaybyphotographers
Click Image For Larger View
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]
Click Image For Larger View
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]
Click Image For Larger View
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]
Click Image For Larger View
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1314wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
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
[6] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_3jpg
[7] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_4jpg
[8] Image httpwwwartinstructionblogcomwp-contentuploads200908missingpicgif
[9] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_6jpg
[10] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_7jpg
[11] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_8jpg
[12] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_10jpg
[13] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_11jpg
[14] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1414wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
2009_img_13jpg
[15] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
2009_img_14jpg
[16] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_16jpg
[17] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_17jpg
[18] Image httpwwwartinstructionblogcomwp-contentuploads200908yenyangexplinationjpg
[19] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_19jpg
[20] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
2009_img_20jpg
Click here to print
Copyright copy 2008 Art Instruction For Beginners - Art Instruction Blog All rights reserved
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1114wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
standard light conditions into unexpected lighting locationscreates unusual and special effects This style is used todaybyphotographers
Click Image For Larger View
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]
Click Image For Larger View
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]
Click Image For Larger View
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]
Click Image For Larger View
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1314wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
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
[6] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_3jpg
[7] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_4jpg
[8] Image httpwwwartinstructionblogcomwp-contentuploads200908missingpicgif
[9] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_6jpg
[10] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_7jpg
[11] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_8jpg
[12] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_10jpg
[13] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_11jpg
[14] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1414wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
2009_img_13jpg
[15] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
2009_img_14jpg
[16] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_16jpg
[17] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_17jpg
[18] Image httpwwwartinstructionblogcomwp-contentuploads200908yenyangexplinationjpg
[19] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_19jpg
[20] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
2009_img_20jpg
Click here to print
Copyright copy 2008 Art Instruction For Beginners - Art Instruction Blog All rights reserved
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]
Click Image For Larger View
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]
Click Image For Larger View
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1314wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
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
[6] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_3jpg
[7] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_4jpg
[8] Image httpwwwartinstructionblogcomwp-contentuploads200908missingpicgif
[9] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_6jpg
[10] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_7jpg
[11] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_8jpg
[12] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_10jpg
[13] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_11jpg
[14] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1414wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
2009_img_13jpg
[15] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
2009_img_14jpg
[16] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_16jpg
[17] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_17jpg
[18] Image httpwwwartinstructionblogcomwp-contentuploads200908yenyangexplinationjpg
[19] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-2009_img_19jpg
[20] Image httpwwwartinstructionblogcomwp-contentuploads200908values-sheridoty-
2009_img_20jpg
Click here to print
Copyright copy 2008 Art Instruction For Beginners - Art Instruction Blog All rights reserved
11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1314wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
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
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[3] Follow this link to visit Sherirsquos website to view more of her work and to learn more about her httpwwwsheridotycom
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11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
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11312Art Instruction For Beginners ndash Art Instruction Blog Online Drawing Lesson - A Theory of Light and Shahellip
1414wwwartinstructionblogcomdrawing-lesson-a-theory -of -light-and-shadeprint
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