the FUHDAMENTALS cf LIGHT, RE N D FE R SHADOW ond REFLECTIVITY by Scott Robertson with Thomas Bertling 4 designstudio l-ress 6DEDICATION This book is for those with e passion for rendering and learning. Never stopl BEYOND THIS BOOK: Stepby.slep videos are on integral part ofthe How To Render educational experience! Use a smarighone or tablet Io epen a GR Reader app and sean this GR code, I links to the Design Studio Press image-eeognition opp needed to play the videos. Download the DSP app, scan Scot's photograph fram poge 10 and on inkeductary video will oad All af the poges in this book thet link te educational videes have a play bution atthe bottom, ke his: No emoriphane or toblet® Ne worries, Ga ta poge 270 and type in the URL on any computer to gain access to the entice ist of links Copyright © 2014 Desiga Studio Press, ll Rights Reserved ‘Al bearond wrmwark inthis book are copyright © 2014 ScoM Roberton, Themas Bering wacest by gues! rissa nated. No parts ofthis Book may br saproduced or ronumited in ony frm or by any means, olocronic er mechanical, eluding phetscepying, xstagraphy, and vidscgreshy rocceding without nite permission kom the publisher, Design StudioPress Copy Editors Malissa Kem, Esko G. Bering, Hawihor K. Denn's, Teeno Apts | Graphic Besigne Ciritapher J. De ba Rose Published by Design Studia Press Address: 8577 Higuero Sireet, Culver (CA0292 | Website: wu dasignsiadicprars.com | mall: info@designstediopmess.com Pred in China | Fst Edition, Movembor 2014 1O9B 765432 Ubrory of Congress antral Mumber | 2014947671 | Seltaver ISBN: 979-199249296-4 | Mondeover SBM: 978-199949202.4 8 Seat aber | Thomas Beting | HOW TO RENDERINTRODUCTION | pacts TABLE OF CONTENTS crater O1 What Is Rendering? + Tools and Materials | rct13 : 13 13 14 18 20 2 22 23 24 25 26 27 28 a0 a0 a0 a a1 32 32 32 33 33 33 a4 a4 a4 a4 a5 as a5 a5 as aa aa ag ag ao 40 How We See Form Contant Overview Tals and Materials charter 02 Light Types and Casting Shadows | race 17 Value Change = Form Change Direct, Hard light Direct, Soft Light Light Decoy, A.K.A. Falloff Occlusion Edge/Rim Light, Halfdight Multiple Light Sources Reflocted Light Sunbeams Atmaspheric Perspective Constrveting Ces! Shadows Perspective Grid Skill Feten Building Skills Construction SectionDrowing Skills The Fundementals of Costing Shadows ligh/Shodow Direction and Light Planes Casting the Shedow of a Single Stick in Perspective Shadow Construction with Local Light Local Light Shadow Construction: Multiple Sticks on a Single Level Local Light Shadow Construction: Multiple Sticks on Multiple Levels Sunlight Construction Light Plane SetUp for Sunlight Sunlight Construction: Finding the Shadow Origin and light Source Positive Sunlight Construction: Backlight Negative Sunlight Consiruction: Front Light Sunlight Construction: Shadow Crigin and Light Source off the Page Sunlight Construction without Convergence Sunlight Construction: Casting Shadows en Muliple Levels Casting Shadows of Wall Shapas Casting Shadows aver Obstacles Casting @ Stick's Shadow an o Woll Casting the Shadow of a Vertical Stick ont an Object Casting the Shadow of a Horizontal Stick anlo & Wall Casting the Shadow of a Horizontal Sick onto « Well and the Ground Casting the Shadow of « Horizontal Stick Beyond the Edge of o Wall, onto the Ground ‘Sept obeetyon | Thomas Beeting | HOW TO RENDER,cHarter O2 Light Types and Casting Shadows | cestin 4 az 42 43 ad 4d 45 46 a7 4B 4“ cHAMER O3 Rendering the Geo Forms | races! 52 52 52 54 5a 55 55 56 56 56 37 58 58 5 59 60 61 62 62 63 oa 64 64 65 65 66 66 66 67 68 os 6g 70 71 71 72 72 73 74 ‘Scolf Robertsan | Thomas Beriling | HOW TO RENDER Casting the Shadow of « Horizonial Stick over Complex Shapes Casting the Shadaw of an Angled (Leaning] Stick Casting the Shadow of a Triangular Shape Student Examples Casting Shadows of Simple Yolemes Casting Shadows of Simple Volumes: Sunlight Casting Shadows of Simple Volumes: Local Light Casting Shadows of Overhengs Casting Shadows of Openings Casting Shadows of Complex Planar Volumes Casting Shadows with Multiple Light Sourees Creoting an ideal lighting SetLp 1.2.3 Read Lighting Strategies for Box Forms Assigning Volves for Mane Surface Objects Shadow Value Observation: Halhway to Black Object Value and Cast Shadow Value Ambient Light and Shadow Value Volve Assignments for Other Sides Top Surface, Number | Side Front Surface, Number 2 Side Flenning Yelues Reflected Light Reflected Light off the Ground Reflected Light of Plane Reflectors Reflected Light: Double-Bounce Local Light Valve Assignment Locol Light Rendering Exomples Sloped Surface Value Assignment Planning and Approach to Value Assignments of Sloped Surfaces Student Examples Rendering Curved Surfaces Terminology for Shading Curved Surfaces Light Side, Shedow Side and Cas! Shadaw Terminator and Core Shadow Core Shadow Form Highlights Passive Highlight Reflactive Highlight Reflected Light and Occlusion Shadows Cylinders Shadow Construction of a Vertical Cylinder in Sunlight Shading of a Vertical Cylinder in Sunli Shadow Construction of a Vertical Cylinder in Local Light Rendering of a Vertical Cylinder in Local Light Vertical Cylinder Rendering Examples Shadow Construction of a Herizental Cylinder: Sunlight Terminotor, Highlight ond Cost Shadow Edge of 2 Horizontal Cylinde Sunlight: Top Light Sunlight: Side and Biogonel Lightcharter 03 Rendering the Geo Forms | costined crartee 04 Complex Volumes | race 105 74 75 7 7 7 78 78 79 79 80 80 al a2 a3 ad 86 a7 a8 89 90 90 a a 92 92 93 94 96 98 99 100 101 102 103 106 107 108 108 109 110 110 wi Vz 1g V4 16 v7 18 ng 120 Rendering « Horizontal Cylinder in Sunlight: Sidelight Rendering « Horizontal Cylinder in Sunlight: Diagonal Light Rendering a Horizontal Cylinder in Local Ligh! ‘Cost Shadow Construction of a Tilied Cylinder ‘Creating Practical SetUps Cones Rendering Cones in Sunlight ar Local Light ‘Combining Cylinders and Cones Costing the Shadaw of a Horizontal Cone ‘Spheres ‘Constructing a Sphere Rendering «Sphere in Sunlight: Top light Rendering 0 Sphere in Sunlight: Sidelight Rendering a Sphere in Local Light: Top Light Rendering a Sphere in Local Light: Sidelight Shadow Edges Student Examples Backgrounds ‘Why the Background Is So Powerful Troditiane! Yersus Digital Rendering Teols Traditional Tools of the Trade Pencil Handling Graphite ond Wox Pencils ‘Wor Pencil Application ‘Graphite Pencil Application + Paper Practice Markers Pastels. ‘Wet Media and Gther Troditioncl Techniques Mixed Medio The Imporiance of Mastering the Fundamentals Digital Rendering Programs Valves to 2 Photograph Student Examples Shading Simple Curved Surfaces Creating XYZ Form Sections XYZ Form: Sunlight om Directly Above XYZ Foem: Sunlight kom the Side XYZ Form: Diogonal Sunlight XYZ Form: Local light XeVZ Forms: Planning a Rendering Student Examples Rendering Workflow Student Examples Digitally Rendering an XYZ Form Cur tines Graphics Texture Detail and Texture Gradients Print + Practice ‘Scolf Rabeitsan | Thomas Boring | NOW TO RENEEcHarter OS Rendering Specific Objects | race 123 124 125 126 130 132 134 136 138 146 150 54 charter 06 Photo Reference | pace 1s7 158 158 159 cuarter OF Reflective Surfaces | race 161 162 164 165 166 168 s 170 179 180 181 182 183 184 185 crarter 08 Reflections: Indoor Scenes | race 187 188 189 191 8 = —————- Sco Robertson | Thomas Beriling | HOW TO RENDER Vehicle Lighting Strotegies Goneral to Specific Form Building Vehicle Rendering Step-by-Step: Simplification for Communication Mech Step-by-Step Character Stap-by-Step Value and Color Relationship. Organic Form Rendering by Neville Page Environment Skeiching in Graphite with John Park Rendering Environments by Rabh Ruppel Environment Rendering Examples by Robh Ruppel What is Good Photo Reference? How to Use Good Photo Reference Building a Reference Library Angle of Incidence Plotting Reflections The Basic Idea Plotting Reflections: Concave and Convex Surfaces Wolue, Color and Perceived Reflectivity Fresnel Effect Digital Layering Strategy Reflection Flipping Reflection Pools and Puddles Reflections of the Light Reflections of Reflective Surfaces Reflections over Graphics Cost Shadows on Reflective Surfaces Understanding the Scene g Strategy Rendering Step-by-StepcHarTes OF Reflections: Outdoor Scenes | race 19s 196 200 201 204 cuartée 10 Rendering Specific Materials | race 108 210 212 214 216 28 220 222 223 224 225 226 227 228 229 230 231 232 233 234 236 237 238 239 240 242 244 = ea) cHarrex 11 Rendering Examples | race 207 248 250 282 254 260 Glossary | pict 267 Index | rast 266 Understanding The Sky's Reflection layering Strategy Outdoor Scene Rendering Step-by-Step How ta Render Eyes by Neville Page Metallic Paint Metallic Paints, Glossy Paint Digitally Rendering o Metalic Look Translucence and Subsurface Scattering Glass ond Plestic Luminescence Water Haw Reflections Distort Wind on Water Rain Semigloss Textured Surfaces Chrome Bronze Brushed Metal Raw and Machined Metal ‘Aluminum Gold Wood Rust Leather Cloth Carbon Fiber Weathering Camera Efects: Motion, Bloom and Glints Depth of Field Fun with Values ond Weothering Pheio Beth as « Design Taol Pheio Paint Overs Rendering a Scifi Suit with Robert Simons 20 Rendering over 30 Renderings Video Links | pkse270 Bios | rack 268 Seo" Rebertice | Thomas Beeling | NOW TO RENDERINTRODUCTION Rendering is the nex! slep alter drawing lo communicate ideas more cleorly. Building on whol Thomas Beriling and | wrote about in How To Drow: Drawing and Sketching Objects ond Environments fram Your Imagination, this new book shores almost averyihing we know about how io render light, shadow and rellactive surfaces. Before getting slarled, there are a few important things 10 understand abou! haw this book is organized. It is divided into hwa major sections: the firs! explains the physics of light and shadow. You will leam hovr to construct shadows in perspective and how 10 apply the correct values to those surfaces. The second seclion focuses on the physics of rafleciivity ond how to render a vary wide range of materials utilizing this knowledge. about the fundamentals of light, shadow and @, pholo-bashing images or working specifically in any ons sclware program, Thase are topics for another book. Although many finished rendering ewomples ore included in this book, in order to show what is possible offer mostering the fundamentals, the focus is firmly on helping lo improve your visual underslanding of the world eround yau and on techniques for representing that warld mokes volumes look mare threedimensional and c. Wis much easier than drawing from the imagination, because we con observe nature to learn how light, shadow and reflectivity behave. To illustrate these ideas and to improve your visual awareness and skills of observation, we show & gree! meny photographic examples. This will lead to a deeper understanding of the visual world around you. Throughout the book, icons oppear that indicate “observe” or “oct,” Observe The poge o¢ section is about observing really Apally the knowledge and follow the steps to create your own work, 10) —— Scot aberion Thomas Gerting | HOWTO RENDER. Similor to our previous book, Haw To Draw, this book contains links to free online tutorials that can be occessed via the URL listed on page 270, or through the H2Re opp. Page 4 contains moro information on accessing and using the apps. Il is important to watch these video tutorials in erdar to get the mas! oul of How To Render. In additien, yaw will also find over forty image files to dewnload using the same URL es the terials, Let's render! Get Reker tren May 31, 2014 Los Angales, California‘Why is rendering importent? Quickly skelching a concept to share an idea is foster than rendering, and line drawing without value and color can serve fo communicate designs, so why learn how to render an criginal ideo to 0 photo-real level? Arliss ond designers often toke for granted the ability to understand a concep! by looking af 0 rough lie drawing, However, the visual language Ihat mos! people understond is bosed on what they see around them every day ond inthe real world, objects ore not surrounded by lines, Silhouettes cond sufoces ore defined by chongesin color ond value, Tha is what the human broin understands best CHAPTER WHAT IS RENDERING? = + TOOLS AND MATERIALS 0 To make on imaginary objecl, charocler or scene look believable, it needs to be shown in 0 way that resembles what people see every doy. Therefore, orists and designers must learn how to render surfaces and volumes if he goo! is i hove ‘heir designs clearly understood by everyone, To get slorted, 1 few tools ond moteriols ore necessary, By 0 means do all of the items on the following list need to be purchased. The fist half of this book's exercises con be procticed and perfected with just o pencil and several pieces of poper, ‘Scott Robartzon | Thomas Becting | HOWTO RENDER ———— 13v i RENDERING TOOLS AND MATERIALS Here ore some excellent rendering tools and materials. Most of haze can be found online or at better art supply stores. As you become mara praficiant you will discover your own favorites thet elevote your work, The search for the next best pen or paper seems fo never end, so enjoy the journey. This Page: 1 Uni POWER TANK 6.7 ballpoint pon 2 ZEBRA H.07 ballpoint pon refill port #BRSAHBK 3 - ZEBRA Jimnie Light (soft ink} bollpoint pen 4 -PILOTHLTEC pen, available sizes, 0,25, 0.3, 0.4 and 0.5 5 COPIC » SKETCH morker- chisel ond brush tip nibs & - COPIC marker - brood chisel and fine point nibss 7 -COPIC - Opaque White paint 8 -Windser & Mevion - Designers Gouache a “Son fobeezon | Thoma Beting | HOWTO RE = Fecton ace Opposite Page: 1 - Kneaded Eraser 2. Tombow - MONO - graphite pencil, various hardness leads 3 « STAEDTIER - Mars Lumagraph - graphite pencil 4. FABER-CASTELL -Palychromos - colored (wax) pencil 5. Windsor & Nowion - sories 995, 1/2" flat brush 6. Windsor & Newion = series 7, number 3 round bruth 7 «Pentel -Pocke! Brush Pen 8 - Prismacalor - NUPASTEL, chalk 9» Webril - Handi-Pods, 100% cotton, lintless 10.- Block Eraser, many brands available 11 - Toleum Powder, any brand 12-Drafiing Brush, any brandSeo Rebars | Thor Seting | HOW TO RENDERLIGHT TYPES AND CASTING SHADOWS —— The simplest and most effective way to start to make a volume look more real is 1 use light ond shadow, creating value cchonges ocross the volume insteod of using lines to describe it There is terminclogy to learn and observations ta make befare the cetual rendering of hese volumes con begin. This chapiar bagins with a serias of pages that provide strong exomples of the characteristics of light and shadow. The terms will be defined that describe all of the value renderings and ahotographs throughout the rest ofthis book. CHAPTER 02 Next, the construction of cast shadows will be explained, Cast shadews are integral to creating the illusion of three dimensions ‘and itis important to understand ct Ieost the basic concepts of shadaw cansiruction before maving on to valve assignments and shading in chapter 03. This chapier, more than any other, relies heavily on the perspactive drawing skills learned fram the previous book, How To Draw. The techniques and ferminolagy on section drawing will bo used throughout this book. Let's lecrn about light and cosling shadows! Scat fcbecion | Thomes Bering | HOW TO RENDER "VALUE CHANGE = FORM CHANGE © f light ilumingte < volume thet has voriction lik the bumps on a frog's back (fig. 2.4), or mer of a truck (fig. 2.5), the light intersects thesechonges are all communicated by changes in value, This isthe = value changes, the broin re ge in form, Exploiting to learn about light and shadow. I doas nat imple “ cbject is a sand dune [fig 2.4), « cloud fig. 9), oF an airplane ffig. 2.10). As the cot ebeesan | Theron Bomlng | HOW TO RENDERDIRECT, HARD LIGHT @> really about shadow with o the same, but the dir the difference. The term “hard light” refer light rays are very aligned in a singular can be recognized by the hard edge of the illuminated forms cast in fig. 2.12 the torso of the stone centaur casts a very hard. edged shadow on the flat, stone surface behind it the quality this edge demonstrates that a direct light illuminates the surk Figs. 2.11 ond 2.12 show these hardedged cast shadow with light cox wee. Hordedged shadows con z ‘OW TO RENDER: matters is that the rays of light are very aligned and traveling from a singular point af the sun or @ light bulb, the quali the some. 2, whether that source is the ‘ofthe edge of the cast shadow is*@; DIRECT, SOFT LIGHT 1 ‘salt light” refers to when a surface is many different paints of light, clso called diffu flight an be recogoizad by the soft edge thar the illuminated st, The elifuse light soh shad: ipl on The py changes ave sila of this bee when rendering e ys est correctly match the quality and ty pt source. This becomes even moze oF any light frened, before it reaches the volume end lotting to observe both types of these the environment, moke @ mental note of the jows ond the type of light source thelLIGHT DECAY, A.K.A. FALLOFF @> HOW 70 RENDER‘7; OCCLUSION ‘complexity. I looked by less experiencedEDGE/RIM LIGHT, HALF-LIGHT @> To really emphasize ihe silhouette of an abject without drawing e line around it, which would make it look like @ cartoon and kill the realism, ny adding edge lighting, clso known im lighting, This technique eecamplishes the seme goal as evilining, but with velue only. Light shining from behind on ebjee! that illuminates just an edge af i, 04 on the body of the seagul, creates a strong edgelighting elfect thot enhances the silhouette. On the slatve, the edge lighting i actually the reflection of the bright sky through an archway beside it. silhouette of the object is visually strengthened, U reclwerld lighting effect in renderings emph wrihout resorting 40 outlining, Holflight is when an abject, or a scene, is only half in the light, creating more visual interest and naturally creating a focal point. sof Robarsce | Thames Bering | NOW TO RENDER 2.25, the cast shadow of a large ‘creates the halflight effeci, allowing the sun to illuminate only the top parts of the buildings. A keen observer might wonder, why are the cast shadaws of the vertical columns an the brown building horchedged, when the cast shadow of the hill on the buildings is saftedged, considering that they are both ecealed by the sun's roys? Jump ohead lo find Ihe answer an page 86When there cre mubiple light sources illuminating an object, hhere will be multiple east shadows. The ligh! sources ean be different from each ether, so: keep this in mind when staging scenes and lighting tests. Knowing that as light saurces change, rode the castshadew edges, itis quite passible to have muliple yypes of shadows cast by the same abject, Remember, the cast shadaw edge quality is dependent on the type of light. In fig 2.26, the lights casting the shadaws of the two boxes are of the Lame type and strength. Where the two cast shadows overlap each ether they visually mubiply in steengih, erecting a kind of doubling effect. ‘> MULTIPLE LIGHT SOURCES This is not actually what is happening, but rather the reverse Each cast shadow is being partially illuminated by the other light source, in effect lighting the parts of the cast shadows thar do-net overlap. The overlapping part of each cast shadow is no darker than it would be if the second light were tuened off, Below, in fig. 2.27, notice this same apparent doubling shadow effect, Incorporating this effect means the construction of two cast shadows instead of one, but the visual interes! it czeates con be worth the extra effort. fg 226 ‘Seam Roberton | Teoma Barling | HOW TO RENDERREFLECTED LIGHT @ ht, commonly known as "bounced" or of one surface and illuminates another surfoe oe on a differen area of the same velume ar sutfoce, 8, light reflects off the ground to add same solt light to the underbelly of the cow. 3 af the other examples; the arrows ing surface, But often it cannot be, as en the shadow side of the forearm,Sunbeams are basically two things of once. They aro small creas of ofmosphere being llminated by the sn. They ore clo the edges of the cast shadows of the clouds. In order lor sunbeoms to occur, the atmosphere needs quite a bit of siaisure, dust or smog, Sunbeam ore most visible when the ‘@ SUNBEAMS sun is behind the object blocking the light, like the cloud i fig. 2.33. Be aware that illuminated shafts of light in scenes, whether caused by the sun or another light source, tand to draw a lot of interast, so be sure they will enhance the overall rondering before adding them. fg 234) Rabeetian | Teoma: Barling | HOW TO RENDER — 27ATMOSPHERIC PERSPECTIVE @> Atmespheti: parspective fect that surfases that are forher away appear ts have lass value cenirast (shift enween the light end dark valves) and less color solvration, then hat ore closer ta the observer, The effet is strongest at because there is mare atmosphere through which in, the mare mi dust and smag in the ait, the ig. 2.25 the orange ht up in the aie ond looks through much pe the lines of sight st straight out to the horizon, The obs more aimosphere when facing aut toward the distant horizon than when locking straight up. In fig. 2.36 it is easy to soe this atmaspheric perspective effect between the for cliff and the rocks only @ short distance away. This is due to the increased m the ir am the ereahing buildings inthe ditonce Reve less value contrast han the ones in the foreground fig. 2.98 Sy ET yIn fig. 2.38 compare the value centrast of the buildings in the those of the large building on the hill in the background, even foreground with that of the container ship in the mid-graundand though thy are ba 12 same local colors ond values. ihe shoreline in the background. The atmosphere is very In fig. 2.40, the fog roolly makes this effect easy to observe, hare. Fig. 2.39 is a nice example of haw color saturation, in Adding atmospheric perspective to renderings is the simplest oddition to value contrast, changes due-to the atmosphere. The way to increase perceived depih in scenes. foreground tower's colors appear much more saturated than ‘Seed febamsan | Thomes Seeting | MOW TO RENDERCONSTRUCTING CAST SHADOWS Even when drawing and rendering neverbefore-seen abjects, is crucial le understond the eeobwerld behavior of objects ia light. Whether shadows are cast by sunlight or local light, they follow physicol laws thet con be leemed through practice. A coireclly rendered cost shadow can moke all the differenc the quality and believobility of on imoge. Always use the mest officient media to achieve a set goal, whether that gosl is sharpening your own skills, or creciing @ rendering for a client. Find the most effective combination of working with lines drawn freehand, lines drawn with straight edges and ellipse guides, and computer-oided constructions, To get the maximum benefit from this chapter on shadow constuction, it i etzential to have clready acquired katie perspective-drawing skills. How to monipulate designs perspective is covered in the first book of the serios, How Ta Drow. Use it to reference the following four skillsets in order to have o successful experiance with constucting cast ond core shadows. Perspective Grid Skills Belore proceeding with the exercises in this chapter, chsolutely necessary to be proficient in creating perspective grids, including drawing toward Vanishing Points that are off the page, os well os being fomilior with Auxiliory Vanishing Points. Mastery of these skills ensures that you ore clay: control of the scene being drawn, knowing where all points are relative to one another in perspective. For a reminder on perspectivegrid construction, see Chopler 04 in How To Draw. fig. 2.41 FormsBuilding Skills Creating X¢¥-2 volume constructions helps to understand ond communicate a design, and plon for shodew construction. ft enables the addition of details io the rendered shape, such as cut lines or other elements. One must have the skills to create these types of constructions for advonced form renderings, since it will be necessory to move back end forth fluidly between plotting construction lines and developing a design with value. Fora refrasher en form building, see Chapter O8 in How Ta Draw. ‘Seat Rabertion | Thomas boring | MOM 10 RENDERfig. 245 fig, 2.46 Construction Skills For many of the upcoming shodow-casting constructions, the skills fo Ieansfer heigh! points, in perspeclive, is needed, When objects ore under a light source, transferring their height to a vertical line creates what is called a Shadow Origin (A, 8). There ore mubiiple ways of doing this, all of whieh rely on strong perspective construction sill To review these construction methods, see Chapter 93 in How Ta Drow. Section Drawing Skills Mos! constructions require drawing a line on the ground, through the object, in the direction of the cast shadow (A, and then constructing @ vertical plane from this line, that cuts through the abject (8). It is important to know how to create section lines, which can range from rectangular sections ever complex planer farms, to curved sections aver XZ farms, For additional practice creating soction lines ond vertical plones, see Chapter 06 in How To Drow. ‘Seam Rebertion | Thomas Berting | HOWTO RI 2THE FUNDAMENTALS OF CASTING SHADOWS «ca A Light Plane is defined by the diteelion of the light and the direction of the shodew. Both elements must be known to cest a shadow correcly. This applies whether the light is coming from the sun, the moon or o manmade source. Light/Shadow Direction and Light Planes Fig. 2.48 is a photograph of o poncil casting a shadow, which is about as simple os a cost shodow can be. Fig. 2.49: Light Direction (A) is a line that emanates from a light source. Think of the Light Directian ling as ray of light. Shadow Direction (B) is @ line originating fram a point called the Shadow Origin, which is always found direcily underneath the Light Source on the plane the cast shadow will rest upon, and in this case is aff the page. The two lines, Light Direction and Shadow Direction, define @ plone-called the light Plane (C]. The Light Plane sits vertically on the ground plane. Shadaws are always constructed on vertical Ligh! Planes. The Light Planes themselves are not always drawn, but this is stuctural concept that mus! be kept in mind, fig. 249 Casting the Shadow of a Single Stick in Perspective In perspective drawing, ony line segment is commonly referred to asa “slick.” Referring to line segments as “sticks” helps the artist to remember te follow reclavorld physical laws. To cost the shadow of a stick, one must know three things: Where is the stick In reletion to the ground plane? In what direction will the shadow be cost? How long will the shadow be? This is true for both sunlight and locallight situations, As long as there is only ‘one stick, there is no difference between the hwo consiny fig. 2.50 STEP 1: Place o stick on the ground, vertically. This will become essential in more complex situations, Run the Shadow Direction (S.0.) through the base of the stick. STEP 2: Draw o Light Ray (A) that runs through the top of the stick until it intersects with the Shadow Direction (B}. The cast shadow: (C} storts at the base of the stick and ends where the Light Ray ond the Shadow Direction intersect (B] Creating a Light Plane, perpendicular to the ground plone, which is the essential firs step in constructing cast shadows, The Light Plone itself does not chways need to be drawn, but the ortist must olwoys remain conscious of ils presence [0] Knowing how to cast shadows of sticks makes it possible to consituct the shadow of any paint in perspective, leading to more complex shedows. The drawing’s perspective must be eo Robertson | Thomas Belg | HOWTO REMDER solid, ond the position of the points must be known, relative to the ground plone,Local fig. 2.54 Local Lis fa. 2.55 a) SHADOW CONSTRUCTION WITH LOCAL LIGHT Cost shadow construction with @ locol light source usually hos the advantage of the Light Souree and the Shodaw Origin being on the page, thus making the consiuclion easier lo understand. For the following exercises, the steps con be done in ony order. Sticks can be drawn, then the Ligh! Source ploced; or the Light Source con be placed belore finding the Shodow Origin ond drawing sticks. Fig. 2.53 shows that when using a local Light Source (A), the vertical ling that drops down fo the ground plane and creaies the Shadow Origin (B) forms on axis from which Light Planes [C] radiate out, Light Shadow Construction: Multiple Sticks on a Single Level STEP 1: Drow two vertical sticks (DJ. Make sure the bases of the sticks ore on the some plane, the gray plone in this care (] STEP 2: Place the Shadow Origin (B] on the ground and then place the Light Source (A) directly above it STEP 3: Draw lines (light Rays) from the Light Source through the tops of the sticks ta the ground plane. Draw lines extending from the Shadow Origin through ond beyond the bases of the sticks. Again, the Intersections of the Light Direction lines ‘and the Shadow Direction lines determine the lengths of the cast shodows [F. ight Shadow Construction: Multiple Sticks on Multiple Levels fig. 2.86 fig, 2.97 STEP 1, fig. 2.55: Define the Light Source (A) and the Shadow Origin (8). Cast the shadow of the stick as usual, sines the Shadow Origin and the base of the stick ore ‘on the some plane, STEP 2, fig. 2.56: To cast the shadow of stick G, an additional Shadow Origin [H) must be created. It is located directly below the Light Source, of « level that is equal to the height of the plone on which the bose of slick G is located STEP 3, fig. 2.57: To cast shadowrs on the larger black, create an adelitional Shadow (Grigin (J] thet is level with the top of that box. Use « seciion line to kransfor this height to the verical line running between the Shodow Origin and the Light Source. STEP d, fig. 2.5B: Place sticks on the larger box. Use the correct Shadaw Origin (J) to plot the cast shadows Osi ks wri 3SUNLIGHT CONSTRUCTION «aia Light Plane SetUp for Sunlight Sunlight is the most commen lighting sitvation in which objects are observed and randered, Since the sun is alimost 93 million miles [150 million kilometers} away, only o very smell portion ofits roys reach Eorth. What this meons for accurate deewing and rendering # that these light rays are 20 close to being porollel, they can be considered a such (lig. 2.59). Therefore, in sunlight shadow constuetions, the Light Direction lines (A) Sunlight Construction: Fig. 2.62 shows the Shadow Direction lines converging to ai Yonishing Point on the Horizen Line (8), which is the sun's Shadow Origin. In figs, 2.63 ond 2.64 Light Rays converge to on Auxiliary Nonishing Point [A) either directly abowe or below the Shadow Origin, This Auxiliary Vanishing Point is the Light Source (the sun). fig. 2.82 fig. 2.63 ig. 2.60 ding the Shadow Origin and Light Source ore parallel; the Shadow Diraction (8) lines are poralle, which sakes the Light Planes (C} parallel fig. 2.61) Pavollel lines converge in perspective, to @ common Vanishing Point, This meons all ef the Light Ray lines shore a Vanishing Point and all of the Shadow Direction lines share a Vonishing Point +B fig. 261 ~ There cre two possible scenarios: Posilive Sunlight when abject ore backlit, ond Negative Sunlight when objects are front In most sunlight constructions, the Shadow Origin and Ligh Source are nol visibly on the page, but il is importont to remember that these lines always converge, in perspective, back to the Vanishing Paints of the sun and the Shodow Origin A fig. 28d Positive Sunlight Construction: Backlight In c Positive Sunlight construction, the Light Source (Al is above the Horizon ling [B). The slicks ore backlit so the shadows are oll cos! toward the observer, This lighting strategy and construction con be used for dromotic effect, but it con make dificuk t undersiond the forms of the objecl, due to the backlighting scene thot makes the silhouette of the object visually dominant $4 ——— cor oberon | Thomas Being | NOW TO RENDEE OA Positive Sunlight fig. 265Negative Sunlight Construction: Front Ligh Ine Negolive Sunlight construction, the LightSource (A) iskelow the Horizon Line [B), The sticks are fronblit, so the shadows are ; cll cast away from the observer, This lighling scencrio shows B con object’s surfaces more clearly than the backlit scene. L I I In both of these examples the shadows are long, since the Light Source is on the page, close to the Horizen Lin. Tho farther the Light Source moves away from the Harizon Line, the shorter the Po cas! shadows became, reducing the perspective canvargence of tho Light Rays. This phenomenon con be observed avery doy, whon the shadows are shortest at high noon. Fig. 286 Negative Sunlight OA Sunlight Construction: Shadow Origin and Light Source off the Page \ Inv mast conskuctions, the Shadow Origin and the Light Source core off the page. Just remember hove perspective grids work [see Chapter O4 in How To Draw) ond it will be possible to rake a good estimate as to the strength of the perspective convergence, j= It almost always suffices to estimate the convergence of the light Rays and Shadow Disection lines without building a perspective grid fig. 267 Physical drawing eres inside orange rectangle with Shadow and Light VPs outside this orec. Sunlight Construction without Convergence To avoid having to work with parspaciive convergence Ioward a Shadow Origin ora Light Source, make tha Shadaw Direction lines parallel to the Horizon Line. Fig. 2.68 shows Light Planes that re perpendicular te the viewor’s line of sight, creating a one-point perspective for the cas! shadows. The abjecis casting these shadaws can be constructed later in three-quarter view. For mare details on perspective grids and layouts, refer to the rotated grids section in Chapter O5 of How To Draw. fig. 268 Sunlight Construction: Casting Shadows on Multiple Levels Unlike multi-level constructions in local light, multitevel shadows h \ in sunlight do not require the creation of additional Shadow \ 5 Origins, because all of the Shadow Direction lines are parallel. ti does not matter ot whet height the parallel lines ere, since they all convenge to @ single Vanishing Point fig, 2.69 ‘SeapRobetias | Thanwas Botiog | HOW TO RENDERCASTING SHADOWS OF WALL SHAPES «cam sl: fig. 270 To cast the shadow of a more complex shape, add vertical sticks within the shape. Each stick provides an additional point along the shape af the shadow. Use as few sticks as possible, Adding too many sticks may actually hinder acewory, if one or mace of them are less thon perfect. This technique works for casting shadows ia both sunlight and local light. ot _ fig 271 Fig. 2.71 is an example in local light. Construct the shadow of each stick by locating the point en the ground plane where the top of the stick casis its shadow CASTING SHADOWS OVER OBSTACLES Casting a Stick's Shadow on a Wall fig. 273 In order to cast shadows over obstacles, this scencrio involves the sticks, the box, the Light Rays and the Shadow Direction lines The shadow of tho slick will end whore the section lina and the Light Ray line intorsoct (A). 6 fig. 274 First, cast the shadow ofthe stick on the ground plane, “drawing through" the box. Castthe shadow on one plane cl a time, to keep control ofthe construction. ‘Scot Robertson | Thomas Bertlieg | HOWTO RENDER: fig. 2.72 In fig. 2.72 these poinis have boon connected fo create o smooth cas! shadow. Always think about what area cr type of shape is casting the shadow. A smooth curve will have @ smaoihly curving shadow, and a comer will shox asa quick turn. fg. 2.75 Next, create the Light Plane thot i defined by the stick ond the shodow construction. Use sectiondrowing skill to define the section line with which the Light Plane culs through the box.Fig. 2.77: To cast the stick’s shadow onthe side of, on top of or over the box (B, C, D respectively}, use exacly the same lechnique ef euting through the box with @ Light Plane to find the end point and direction of each shadow. In sunlight, oll of these planes are parallel, moking the shodows. more predictable. With practice it is possible lo accurately guess whare shadows will fal. Fig, 2.78: In local light the Light Plones fan oulftadiote and it becomes harder fo predict where the shadows might fal To build the shodows, i! moy be necessary to construct eoch of the section plones. The Light Plane canstruction remains the some es in sunlight. Fig. 2.79: With sloped ond/or stopped surfaces, the some light Plane “cut through" rules apply. To construct cast shadows cof more complex objects, it is essential to be in contral of the perspective construction, Concentrating on one section at a fime makes it possible to resolve even the mest complex situations. fig. 2.80 Fig. 2.80: This principle opples to XYZ shopes os wall. Here itis even more crucial 4o understand the surface of the