Light and shadow in Chinese painting. Learning to see light and shadow

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

First a little theory

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

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

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

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

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

Border shape between light and shadow

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

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

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

Directional and diffused light

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

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

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

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

Conclusion

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

At the sight of a picture he likes, the contemplator thinks about what exactly impressed him in the work. But the most interesting thing is how the artist himself was able to draw attention to his work. And this task is carried out with the help of visual techniques that are used to convey mood, atmosphere, realism and the idea itself. The most important thing is the ability to see your work as a whole. With this, the artist is helped by gradations of light and shadow, which allow him to present all the depicted objects at the same time and distribute them into plans and groups.

Tonality in the visual arts

In order to understand the role of chiaroscuro gradations, which also include glare and reflex in painting and drawing, it is worth understanding the general scheme of the image of volume. All techniques in the creation of visual art originate from the word "tone", which in Greek sounds like "tension". But most often it is not the color tone, but the light. This is due to the way light behaves, changing the local color of the depicted subject depending on the lighting itself and its environment.

Together with a simple line, with a variety of colors that allow the artist to depict what he intended, tone is one of the main techniques. It is the laws of tone that help the masters in conveying the texture, shape of objects, the impact of the environment and airspace on them.

What is valer

The light divisions of a hue or color in a tone are called valers. Their levels start with white and end with the darkest shade of color. Changing these levels depends on how much white or black is added to the But, despite the fact that this reduces the effect of brightness quite a lot, valerae are very important in the visual arts. Thanks to the levels, a point is created that attracts attention, the effect of deep space, integrity and, most importantly, volume.

Paintings made in the grisaille technique show the importance of understanding the valères. In such images, gray and other neutral tones are used, with the help of which it is easier for the artist to determine the main gradations of light and shadow - highlight, penumbra, shadow, light, reflex - in painting and graphics.

The role of shadows in painting and graphics

Shadows on the depicted object show poorly lit or not lit areas at all. They can be divided into own and falling. Poorly lit areas on the surface are called own shadows, and the darkness that the object casts is called falling. The shadow that appears under the influence of low light from several sources is called penumbra.

In painting, the shadow changes depending on what kind of lighting. If it is naturally warm, then the shadows will be cold, and in artificial light they are warm. These gradations, when interacting with light, make it possible to depict the relationship between light and shadow - chiaroscuro. But it differs from tonal valers in that it is subject only to optical laws, and not to the imagination of the artist. In other words, when depicting chiaroscuro on an object, the artist relies on specific lighting, and when creating an overall picture, using tones, he achieves integrity in favor of the composition, which is slightly different from real vision.

The role of light in painting and graphics

It depends on the light source how the artist will be able to convey the shape and volume of the desired objects. And the light itself encloses the space in its own laws, which are distributed in the airspace and are felt on the surfaces. Light appears on the surface of an object under direct rays. Under its influence, not only the most ordinary materials and textures change, but also glossy surfaces. If the latter is convex or flat, a glare is formed under a direct beam of light. Reflective material is much easier to convey with flare due to the general connection of objects in painting with color reflection and other gradations of light and shadow.

The role of the reflex

The reflex in painting and graphics demonstrates the connection between objects and their influence on each other, which gives the work integrity. It is formed in the shadow due to the rays that fall on a nearby object, and shows its reflected light. It is the reflex that complements the work of the artist.

In nature, everything is not always perfect and correct, because objects are combined into groups and plans. The inhabitants of the paintings are painted with special attention directed to their surroundings. The feeling of air space is created by the impression of the objects of the second plan, which arises when studying the first plan. Among the fallen autumn leaves, you can see the greenery that comes from the grass that has not yet withered. These reflections in the painting of nature add a special color and atmosphere to the picture.

Reflexes and other gradations of light and shadow change depending on the lighting. The same view from the window shows all its bright and dull colors for the whole day, which is like a film that changes the mood of the viewer.

§7 Light and shadow

The three-dimensional form of objects is conveyed in the drawing not only by surfaces constructed taking into account perspective cuts, but also with the help of chiaroscuro.

Light and shadow (chiaroscuro) is a very important means of depicting objects of reality, their volume and position in space.

Chiaroscuro, just like perspective, has been used by artists for a very long time. With the help of this tool, they learned to convey in drawing and painting the shape, volume, texture of objects so convincingly that they seemed to come to life in the works. Light helps convey the environment.

Artists still use the rules for the transmission of chiaroscuro, discovered in the Middle Ages, but are working on their improvement and development.

The artists E. de Witte (“Interior View of the Church”), A. Grimshaw (“Evening on the Thames”), Latour (“St. Joseph the Carpenter”), E. Degas (“Ballet Rehearsal”) conveyed in their paintings the light from different light sources, pay attention to this (ill. 149-152).

You can see natural light (natural) from the sun and moon, and artificial light (man-made) from candles, lamps, spotlights, etc.

149. E. DE WITTE. Interior view of the church. Fragment

A special approach to lighting in the theater, it is no coincidence that lighting designers work there. They create amazing lighting effects, an amazing magical world - “painting” and “graphics” with light.

150. A. GRIMSHOW. Evening over the Thames

151. LATUR. St. Joseph the Carpenter

152. E. DEGA. Ballet rehearsal. Fragment

153. C. MONET. Rouen Cathedral at different times of the day

Monet's cathedrals are not specific architectural structures, but images of what happens at a certain moment in the morning, afternoon and evening.

We can change the light of artificial sources according to our desire, and natural lighting changes itself, for example, the sun either shines brightly, or hides behind the clouds. When clouds scatter sunlight, the contrast between light and shadow softens, the light in the light and in the shadows even out. Such calm lighting is called light-tonal. It makes it possible to convey more halftones in the drawing.

There are many different states of sunlight that can greatly change the same scenery and even affect your mood. The landscape looks joyful in the bright sun and sad on a gray day. In the early morning, when the sun is not high above the horizon and its rays glide over the surface of the earth, the contours of objects are not clearly revealed, everything seems to be shrouded in haze. At noon, the contrasts of light and shadow intensify, bringing out details clearly. In the rays of the setting sun, nature can look mysterious and romantic, that is, the emotional impression of the landscape largely depends on the lighting.

154. Landscape in different conditions of sunlight

155. REMBRANDT. Portrait of an old lady

Color perception is also largely dependent on lighting. If with the help of linear perspective we convey space in a drawing, then in painting one cannot do without taking into account changes in the color and tonal relationships of nature as they move away from the viewer or light source. Dark objects at a distance acquire cold shades, usually bluish, and light objects become warm. You can read about this in the 2nd part of the textbook "Fundamentals of Painting".

The art of using light in painting was owned, like no one else, by the great Rembrandt. He lit a light with his brush that warms anyone he falls on. Rembrandt's paintings are always illuminated by an inner light. Simple kind people depicted on them seem to radiate it themselves. The greatness of an artist lies in his humanity. The light in his canvases helps to touch the human soul.

In his paintings, the light, highlighting the faces of the portrayed from the darkness, has some kind of witchcraft power.

The nature of illumination also depends on the height of the sun above the horizon. If it is high above the head, almost at the zenith, then the objects cast short shadows. Form and texture are weakly revealed.

When the sun decreases, the shadows from objects increase, the texture appears better, the relief of the form is emphasized.

156. Scheme for constructing shadows from the sun

Knowing these patterns of building light and shadow can help you solve creative problems in depicting a landscape or a thematic composition.

157. Front lighting

158. Side lighting

159. Backlighting

It is important to consider in creative work and the position of the light source. Look at the pictures in Fig. 157-159 and pay attention to the expressive possibilities of frontal, side and backlighting.

Front lighting is when the light source illuminates the object directly, as it is in front of it. Such lighting does not bring out details very well.

Side lighting (left or right) well reveals the shape, volume, texture of objects.

Backlighting occurs when the light source is behind the object. This is a very effective and expressive lighting, especially when the picture shows trees, water or snow (ill. 160, 161). However, objects under these conditions look silhouetted and lose their volume.

160. Backlit trees

161. Student work

162. I. HRUTSKY. fruits and candle

163. Scheme for constructing shadows from a candle

A painting can have one or more light sources. For example, on the canvas “Fruits and a Candle” (ill. 162), the artist I. Khrutsky skillfully conveyed the light from the window and from the lit candle, which is located behind the objects.

Shadows from objects illuminated by a candle fall in different directions, directed from the candle, and the length of the shadows is determined by the rays coming from the candle's fire (ill. 163).

The pattern of a falling shadow depends on the shape of the object and the slope of the surface on which it falls. Its direction depends on the location of the light source. It is easy to guess that if the light falls on the left, then the shadow will be on the right of the subject. Around him, the shadow is darker, and then it weakens.

If you have to draw at a window or near a lamp, note that the illumination of objects near will be much stronger than far away. As the light fades, the contrast between light and shadow softens. Keep this in mind when drawing near and far objects in a still life. This phenomenon is called light perspective.

Contrasting lighting, which is based on a clear distinction between light and shadow, is called chiaroscuro.

Chiaroscuro on a pitcher. Basic concepts

The illumination of objects depends on the angle at which the rays of light fall on the object. If they illuminate the surface at a right angle, then the brightest place on the object is formed, conventionally we call it light. Where the rays only glide, penumbra is formed. In those places where the light does not penetrate, there is a shadow. On shiny surfaces, the light source is reflected and the brightest place is formed - a glare. And in the shadows, a reflection from the illuminated planes that are nearby is visible - a reflex.

The shadow on the object itself is called its own, and the shadow that it casts is called a falling one.

Let's look at the image of a jug and see how chiaroscuro is located on it.

The light source in this case is on the left. The jug is painted in one color. The shadow is darkest, the reflex is a little lighter, the midtone and especially the light are even lighter. The brightest place is the glare.

164. Pitcher Chiaroscuro is easy to convey in a tone pattern, but impossible in a linear one.

165. Drawing of a jug: a - linear, b - tone Revealing the volume of objects using lighting

The light of the world At one time, the image of Toledo formed its image on the canvases of the great Spanish painter Domenico Theotokopuli the Greek, known to the world under the pseudonym El Greco. The old capital served as a backdrop for many of his paintings; especially good fantastic