Drawing Lesson - A Theory of Light and Shade

30/08/22, 17:03 Drawing Lesson - A Theory of Light and Shade
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Drawing Lesson – A Theory of Light and

Shade
AUGUST 4, 2009 BY RALPH S — 50 COMMENTS
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A Theory of Light and Shade ©Sheri Lynn Boyer

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All Illustrations for a theory of light and shade are by Sheri Doty accept for Manet’s painting “The
Railway” showing an undefined light source. Before you undertake your practice of the use of light
and shade in your art you need to understand the significance that light and dark contrast has in
making a painting or drawing visually believable.
Value is the term used to describe light, gray and

dark tones.
Johannes Itten wrote “the contrast between light and dark is one of the most expressive and
important means of composition.” Value contrast can be encountered in both colorful and non-
colorful art renderings.” All neutral tones from white, black and all the gray tones between are
called achromatic, meaning having no color. All tones that have some color are call chromatic.
When investigating art in all its components, you must consider the relationship of value to other
art elements, color, line texture and shape. All these elements must exhibit some value contrast in
order to remain visible.
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
figure resting on it. The same hue or value appears to be a different depending upon the contrast
of tone or hue of the background upon which it is placed. Conversely, two different tones or hues
appear to be the same when placed on contrasting grounds. Each will have an impact on how
believable your art will be perceived by the viewer. Most people have difficulty perceiving “figure-
ground” relationships. When the same medium toned figure is placed on varied light and dark
backgrounds, it will be perceived to be as a different value.Example: When a medium gray is
placed on a near black background, the mid-gray tone appears very light. When the same gray
tone is placed on a near white background, it is perceived to be very dark. But when a mid gray
tone is placed on a similar value background, the contrast is minimal. Note how the same mid-
tone value patch looks different when placed on backgrounds of contrasting values.
Chiaroscuro
Value describes volume and depth of space In Europe artists of the Renaissance were concerned
with showing depth and volume in opposition to the artists of the Middle or “Dark Ages.” Men of
the Renaissance considered their time period to be the Age of Reason and rebirth of artistic and
mathematical achievements. Renaissance artists manufactured the term “Chiaroscuro” to describe
how light and dark can imply depth and volume. The word Chiaroscuro is a combination of two
Italian words that mean light and dark. (chiaro (clear, light) + oscuro (obscure, dark) Atmospheric
or Ariel perspective was one of the artistic strategies used in the study of Chiaroscuro during the
Renaissance. (Atmospheric or Ariel perspective is covered in depth in the section “Objective Color
Harmony”.)
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 than another 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 angular surface shows sudden contrast of light and
dark.
Intuitive Space is merely a trick the artist uses to create depth on

a two dimensional surface.
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“Intuitive space” is merely the illusion space created by using artistic methods to trick the viewer
into seeing depth, volume and mass on a two dimensional surface. Intuitive space is sensed or
”felt” on a two dimensional plane. Intuitive methods of space control include overlapping,
transparency, and other applications of spatial proportion. In a “Theory of Light and Shade” I will
show how to create intuitive space by using “Light Logic”.
Light Logic refers to how light interacts with objects. Light Logic is the term Betty Edwards uses in
her book “The NewDrawing on the Right Side of the Brain”
Light Logic and the Rendering of Three Dimensional Objects onto

a Two Dimensional Surface.

You will make your art more believable when you keep these basics in mind.
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 light and 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.
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 and value. The farther a cast shadow is from the object which casts it the lighter and
softer and less defined becomes its edges.
Form Shadow
A form shadow is the less defined dark side on an object not facing the light source. A form
shadow has softer less defined edges than a cast shadow. Form shadows are subtle shadows
essential for creating the illusion of volume, mass and depth. The changes in form shadows
require careful observation – quinting at the subject to see value definition affected by figure-
ground making value relationships clearer.
A Light Side and a Dark Side on Round or

Circular Surfaces
When one light source is present, I was taught the dark side is “always”darker than the light side
of the object and the light side is “always” lighter than the dark side. Establishing a definite light
side and dark side makes round objects appear round and defines the form of an object
accurately. Use this simple trick to make your artwork more true to life, separate light tones
avoiding figure-ground confusion.
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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 the shadow 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 textured surface.
Light middle tones

Note, to avoid confusion, “always” keep the values on the light side lighter than the values on the
dark side. In reverse, the values on the dark side are darker than the values on the light side. It’s
the middle tones on either side that confuse the artist’s eye in value relationships
The Dark Side in Three Parts

Form Shadow in Three Parts

“Shadow edge” or “core shadow”
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 the shadow edge on round subjects.
Dark middle tone

The variable values blended form the shadow edge on the dark 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 middle values will become a dark reflection. The concept also holds true when
the object of the painting is sitting on a colored surface. If the reflected light is reobject.

Cast Shadows
When the source of light is blocked by an object it casts a shadow. The length and shape of the
cast shadow depends on the placement of the light source. Long shadows are cast from a side
light source (as from the sun in late afternoon or early evening), and short cast shadows are cast
from over head (as from a noonday sun). The shape a shadow casts depends on the shape of the
object casting it and how close source is to the object.
CAST SHADOWS IN THREE PARTS

The vocabulary used to describe cast shadows in art come from shadow descriptions in
astronomy. The umbra, penumbra and antumbra are the three distinct names given to the
description of shadows cast by heavenly bodies. The umbra is the darkest part of a shadow
considered the absence of light. The penumbra is a lighter outer shadow where the object is only
partially obscuring the light. The antumbra is more obscure. When it is visible it seems to extend
out from the penumbra in a lighter and less distinct way.
Light Source, Cast Shadows and the Axis

Cast Shadows The Sphere

The Cube

The Cylinder and Cone
More on Cast Shadows

Too many complex cast shadows can be confusing. Such objects can be rendered by blurring the
edges.
Daylight and Cast Shadows

Cast shadows of irregular shapes and in natural sun light are open for interpretation because 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
that constant to avoid a confusing spread of shadows. The nature of shadow is affected by
weather, sunlight, moonlight, or artificial light.

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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 “nonrepresentational” uses of value and color.
Manet’s Painting, “The Railway” 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 or Dark 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 object. Before you
render details, block in the value characteristics of each object. Using this strategy will save you
time and achieve a more realistic result.

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. “High Key” is the term used for a light value scheme. All middle tone
values are in a “Medium Key” range.

And “Low Key” 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 “Tenebrism”.
Tenebrism – Violent Chiaroscuro

In the 17th century, a group of painters instituted the so called “dark manner” 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 dramatic and even
theatrical style of using light and dark contrast. The tenebrists were interested in peculiar lighting
causing mood or emotional expressionism. The deviation from standard light conditions into
unexpected lighting locations creates unusual and special effects. This style is used today by
photographers.
The analytical study of Chiaroscuro in the art of

today


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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.
“An understanding of Notan traditionally has been and will be a requirement for mastery of any
field of art. It enables the artist to compose a work in which all the parts relate to create a unity of
visual organization, impression, or pattern. Notan enables the artist to achieve a Gestalt – or more

simply to create a design.”Notan The Dark-Light Principles of Design by Dorr Bothwell and Marlys
Mayfield
Lao-Tse wrote a poem that to me simply states the Essence of Notan:

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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.
The Principle: Matter represents the usefulness Non-matter the essence of things.
Poem taken from Johannes Itten’s book Design and Form, Revised Edition
Basic Course at the Bauhaus and Later, John Westly & Sons, INC, page 13

Value as Pattern
Controlled shallow space is illustrated by the early cubists such as Picasso and Braques. Their
paintings are taken from realistic subject matter and abstracted into unified flat tonal planes. The
planes are shaded individually with the semi-illusion of space with no light source. Later, each
plane takes on characteristic value combined with other planes with the same style of value
pattern. This produces a carefully conceived two dimensional pattern of light and dark values. The
shallow space develops a three dimensional effect through the characteristics of the advancing
and receding values.
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 logic all together. When light effects appear, it is often based on the total design of the
artwork.

Compositional Functions of Value

Today most artists use value as a vital tool in pictorial composition. Value contrast is an intrinsic
factor in pictorial organization, in showing dominance in design, creating two dimensional patterns,
establishing mood and producing 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
observations; “Basic Perspective for Artists” by Keith West; “Perspective Without Pain” by Phil
Metzger, North Light Books 1988; The Basics of Drawing by Parramon Ediciones Editorial Team’
Barron’s Educational Series 1994; The Practice and Science of Drawing, by Harold Speed, Dover,
first published in 1917 by Seeley, in London, reprinted by Dover,1972; Art Fundamentals Theory
and Practice – Second Edition WM.C. Brown Company, Publishers/Dubuque, Iowa 1968 by
Ocvirk, Bone, Ssinson and Wigg; Design Basics Fifth Edition, by David A. Lauer and Stephen
Pentak, Wadsworth-Thompson Learning
Sheri Lynn Boyer Doty CPSA -Biography

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 she studied, emphasized strong
drawing and painting skills. Sheri is a faculty member of Salt Lake

Community College and Peterson’s Art center where she teaches

Fine Art and Design.
Sheri’s paintings have earned her awards in regional, national and

international art exhibitions and invitational shows including
purchase awards and permanent museum acquisitions. Sanford
Corporation has used her artwork to showcase its PRISMACOLOR
colored pencil product line internationally. Sheri is a charter
member and signature member of the Colored Pencil Society of
America [C.P.S.A.].
Sheri’s artwork has been published in numerous books including The Encyclopedia of Colored
Pencil Techniques by Quarto Publishing, London England;Most of The Best of Colored Pencil
series by Rockport Publishers, Creative Colored Pencil Techniques by Rockport Publishers,
Creative Colored Pencil Portraits byri’s art work is included is Rockport Publishers and The Best
of Portrait Painting by North Light Books, Dear Sisters by Covenant Communications Inc. Sheri’s
artwork is published on book covers, in newspapers, periodicals, and exhibit catalogues.
People have been known to say, “She possesses a unique ability to paint the breath of life into her
subjects – a gifted talent.” Because Sheri expresses not only the likeness of her clients but also
their lifestyle, her portraits are in high demand. Sheri has also has prints and greeting cards on the
market.
Sheri Says:
“The art professors under whom I studied had us draw and paint from live models and “open air”
studies, not from photographs. To truly see and paint a subject, I need to see it from all angles.
The human eye sees so much more than what is pictured in a photograph. I am glad of the rich
ridged training I received from my teachers. I have married the use of photography and live
studies to create my paintings. I take my own photographs as resource material employing a
variety of ways to recreate what the human eye sees. My paintings are not exact reproductions,
but an interpretation of life from my view as an artist.
“Thirty years of study and experience in this field has taught me that talent isn’t 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 Heaven’s influence. When I pray about what I paint, I can feel
His help and guidance.”
sheri-doty-bio-bttm

Follow this link to visit Sheri’s website to view more of her work and to learn more about
her.
FILED UNDER: DRAWING
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Comments
Miranda says
AUGUST 4, 2009 AT 4:34 PM
This is a great, comprehensive article! Once you understand how light works and how to shade
basic shapes, drawing more complicated subjects becomes much easier. Thanks for this info!
.-= Miranda´s last blog ..How to Draw the Nose – Tutorial =-.

Shirish says
AUGUST 5, 2009 AT 5:00 AM
This is a wonderful article…. thanks for sharing…
Judy says
AUGUST 5, 2009 AT 10:19 AM
very complete article. Thank you. Judy
Jo Castillo says
This is a wonderful article, full of information. Good for beginners and also as a reminder for
the rest of us.
Thanks.
.-= Jo Castillo´s last blog ..Another Hunting Sketch =-.
Linda says
Great article, so much information,Thank you
girish says
AUGUST 11, 2009 AT 6:20 AM

it was very helpful
Peter says
AUGUST 17, 2009 AT 5:00 PM
Thanks for this excellent article
Chris says
AUGUST 27, 2009 AT 2:18 PM
I’ve been searching for such an article for so long. You’ve outlined things in a way that will
make it much easier to understand and render what the eye sees. Thank you.
dr. soni ekwere says

SEPTEMBER 1, 2009 AT 8:54 PM
the lesson is an artistic antacid for a creatively constipated artist. it is well cherished
Gregg @ Oil Painting Beginners says

SEPTEMBER 8, 2009 AT 4:17 AM
Great articles and Thanks a million for the visuals. I did a painting a while ago and had some
issues with the shading. I really wish I had seen this article back then. Great stuff. Keep it
coming!!! Thanks…
mysketch says
basic knowledge of drawing is how to create light and dark sides of our object image and here
I can get that knowledge
-.
Ola says
I was actually looking for a word to describe light and dark as a concept and i think you article
shed a little light on the darkness. Do you have any other word to describe light and dark as a
concept.
Thanks
bsunand says
APRIL 23, 2010 AT 9:52 AM
A very comprehensive article. Many of my vague concepts were cleared.
thugz09 says
MAY 1, 2010 AT 2:17 AM
tried a lot to understand light n shade…..this article made me clear about many confusions i
was goin thru!!!
thnks a lot [o_0]

lynne says
MAY 11, 2010 AT 6:08 AM
This is a brilliant article Sheri. My son is currently studying art at A-Level and doing brilliantly.
Sketching is his favourite side of art and this will be invaluable.
saaid says
JULY 15, 2010 AT 3:37 PM
Great stuff! keep up the good work, ilook forward to reading more of your articles
arvind chary says

JULY 19, 2010 AT 3:30 AM
thank u for ur explanation on light and shade.being a fine art student am have been confused
on Chiaroscuro.his article made me clear about many confusions.thank u once agail Sheri.
Rose says
OCTOBER 5, 2010 AT 2:07 AM
Feel like I am in class with my teacher again. Thank you for this great lesson.

u s kakodker says
NOVEMBER 6, 2010 AT 2:51 AM
i am quite new to painting, and am always scared of color combinations not knowing if one
chosen would really work. this article has developed my understanding of paint and its shades.
immense gratitude and thanks to the author for putting it simply to dummies like me.
Ditiro says
MARCH 12, 2011 AT 7:40 AM
This is absolutely informing. I had a great time with this lesson. I struggled a lot with how light
hits an object, particularly with the angles of light. Thank you.
Jahan says
MARCH 31, 2011 AT 8:57 PM
I loved the lesson. I bookmarked for future referencing. I’m new to drawing and art; but, I’m not
wasting any time to understand every viable principle in art to achieve great and realistic work.
Thank you!
Ron says
MAY 5, 2011 AT 6:47 PM
Sheri,
I have never seen drawing explained quite like this. I love how you talk about the different
angles of light and shadows.Again Awesome! Thank you for the awesome article!

Matt says
JUNE 25, 2011 AT 10:31 AM
Perhaps the most thorough explanation of value and it’s importance that I have found. In my
opinion, value is the most important element of art.
diane says
JUNE 25, 2011 AT 10:04 PM
thanks for the help! wonderful article. i have now my assignment in drafting.
James Thung says

JULY 14, 2011 AT 2:38 AM
I like your lesson on Light and Shadow. I need to find more lessons and learn to improve my
drawing skill on internet.
Bill Sanders says

AUGUST 23, 2011 AT 10:28 PM
I’ve been an art instructor and illustrator for more than 20 years. What is your source for the
impressionist theory of painting flat surface planes?
Value has always been a vital tool and multiple light sources were not a big concern with
impressionist painters as a group.
Impressionism developed from the idea of using tonal shapes reflected on the retina of the eye
versus the more sculptural painting and drawing of most Renaissance Masters whose works
depicted form as 3D objects identified in space by touch and ‘sympathetic touch memory’.
Impressionists identified every tone shape as a light and assigned a color value to the brightest
tint and deepest shade.

Color temperature and chroma exceeded value and volume as a painting concern for most
impressionists. They were interested in depth as the relationships of color value shapes
juxtaposed in space. Light source, like value is inseparable from
representational works and was unavoidable, just not a primary concern.
Vladimir says
This is really a good article! Very impressive and helpful.
Best Regards,
Vlad
John says
OCTOBER 26, 2011 AT 1:26 PM
Brilliant article, I’ve bought a few recommended books on the subject, but this made things
much clearer to me, thank you
Stanley Sroka says

JANUARY 22, 2012 AT 6:44 AM
You have laid the cornerstone upon which the building of all art rises. When this is understood,
really, then all doors of creativity and confidence are opened; freedom of ones expressions
now unfold.

Rabanne J says
JANUARY 24, 2012 AT 11:36 AM
Thank you do much for sharing! Great article and it really helped me.
nayab says
JANUARY 26, 2012 AT 5:18 AM
I would like to ask you a Q. What do you think it is that the quality of the light effects the value
of color?
Suvidha Bajpai says

MAY 11, 2012 AT 5:52 AM
Beautiful article, nice presentation.
Teresa says
Excellent tutorial on light and shadow! Thank you.
Mike says
This website is known as a walk-by means of for all the info you wished about this and didn’t
know who to ask.

Glimpse right here, and also you’ll definitely discover it.
kedarnarth says
its very nice article,simple and clear.. thank u so much
Dalia says
JUNE 17, 2014 AT 2:08 AM
This is the best article I’ve read so far, I wish they would explain the subject like this in art
school…
Thank you so mach for this one.
George Hall says

JUNE 17, 2014 AT 2:52 AM
I’m late to the party, but in case you’re reading this, THANK YOU!
jeri says
DECEMBER 13, 2014 AT 3:36 PM
I stopped water coloring because I was making some great pictures, but I didn’t really
understand how I was doing it. I decided to use graphite to train my eye and mind–wow, was it
hard to get any information about how to observe what happens to light. I’d intuitively got the

dark side, but yikes on the light–missing link was the distance of the light source. Thank you,
thank you.
giuseppe says
FEBRUARY 28, 2015 AT 6:46 AM
sorry. you just share some images about shade. U didn0t explain or teach to people the rules
behind shade on perspective, or axonometry.
rupali says
APRIL 10, 2015 AT 2:53 AM
it was really of great help, felt like i was in a drawing class. Thank u.
Nivisha says
JUNE 21, 2015 AT 9:47 AM
This is what we call a complete art class Its actually better than my college lectures..Thankyou
so much.You are a great artist
Regards
Sylvia says
Excelente! Gracias
Me ha servido mucho

Mercedes says
JANUARY 1, 2016 AT 11:06 PM
Muy completo e instructivo. Gracias
Ralph S says
De nada! Mercedes…
says says
MAY 3, 2016 AT 1:59 PM
awesome…thnx
FAWAD LAHOREIPAKI says

DECEMBER 13, 2016 AT 6:27 AM
KNOWLEDGE IS ALWAYS VALUABLE AND MUST CONTINUE ITS TRAVEL FROM ONE TO
ANOTHER…..
EDUCATION MUST BE FOR ALL ON “EQUAL RIGHTS” GROUNDS.
THANKS TO ALL OF YOU.

iran says
MAY 26, 2017 AT 12:59 AM
thank you a lot .
Mullholland says
Uh, “Men of the Renaissance”? How about “Artists of the Renaissance” instead?
Michael says
FEBRUARY 11, 2019 AT 7:21 AM
Dear Sheri,
You are a great artist and a generous soul. Thank you so much for sharing these extremely
important and useful basics.
Marina says
OCTOBER 17, 2019 AT 10:21 PM
beside been pretty you are kind and virtue… because you are an excellent teacher ..!!
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HOME » DRAWING LESSON – A THEORY OF LIGHT AND SHADE

Drawing Lesson – A Theory of Light and

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A Theory of Light and Shade ©Sheri Lynn Boyer

Free Trial for New Users

Mesopotamia, & more.

Value is the term used to describe light, gray and

A simple Value Scale shows figure-ground

file:///C:/Users/Boldes/Desktop/Leholas/Drawing Lesson - A Theory of Light and Shade.html 2/37

Chiaroscuro and the Illusion of creating intuitive

file:///C:/Users/Boldes/Desktop/Leholas/Drawing Lesson - A Theory of Light and Shade.html 3/37

Intuitive Space is merely a trick the artist uses to create depth on

Oldest Civilizations Series

Light Logic and the Rendering of Three Dimensional Objects onto

file:///C:/Users/Boldes/Desktop/Leholas/Drawing Lesson - A Theory of Light and Shade.html 4/37

A Light Source and Shadows

Two Kinds of Shadows

A Light Side and a Dark Side on Round or

More Than 14 Yrs Experiences in Solar Lighting

Project, Providing cost-effective Solution.

THE LIGHT SIDE IN TWO PARTS

file:///C:/Users/Boldes/Desktop/Leholas/Drawing Lesson - A Theory of Light and Shade.html 6/37

Light middle tones

The Dark Side in Three Parts

file:///C:/Users/Boldes/Desktop/Leholas/Drawing Lesson - A Theory of Light and Shade.html 7/37

Form Shadow in Three Parts

Dark middle tone

file:///C:/Users/Boldes/Desktop/Leholas/Drawing Lesson - A Theory of Light and Shade.html 8/37

CAST SHADOWS IN THREE PARTS

Light Source, Cast Shadows and the Axis

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Cast Shadows The Sphere

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The Cylinder and Cone

More on Cast Shadows

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Daylight and Cast Shadows

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Oldest Civilizations Series

Multiple Light Sources or an Undefined Light source

Objects Have Light, Medium or Dark Values

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Value Schemes and Mood

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Tenebrism – Violent Chiaroscuro

The analytical study of Chiaroscuro in the art of

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Oldest Civilizations Series

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Lao-Tse wrote a poem that to me simply states the Essence of Notan:

Oldest Civilizations Series

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Decorative Effects of Light and Dark Contrast

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Compositional Functions of Value

Sheri Lynn Boyer Doty CPSA -Biography

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Community College and Peterson’s Art center where she teaches

Sheri’s paintings have earned her awards in regional, national and

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FILED UNDER: DRAWING

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