Light & Shade Study

 

One of the primary means by which humans construct their understanding of form (the three-dimensional nature of objects) is by decoding the effects of light & shade (how light falls irregularly on forms). Despite what we see as an object whose color appears to change, we make the assumption that the object is a uniform color and that the variations are caused by its three-dimensionality and it being lit unevenly. In this way, we construct our sense of from certain visual cues. Artists understand this and are able to replicate those cues in drawings and paintings to give two-dimensional surfaces and shapes a three-dimensional feel. One of the artists we looked at who used dramatic light and shade (known as chiaroscuro in Italian) is the artist Caravaggio.

We learned about and then studied from observation, the key features artists look for in a light & shade situation. Those seven key features of an analysis of light and shade are in bold below:

• Locate the light source.
• Knowing the light source you should be able to predict where to look for the highlight (the most well-lit areas of your object).
• Then look for the darkest area, the deep shade. It is furthest away from both the main light source and away from any reflected light. Reflected light is light that bounces off surfaces and other objects and then becomes a secondary light source.
• Look at the area of transition where the light blends with the shade, in some areas it is a quick blend, in others it is much more gradual.
• Shadows are darkest and hard-edged near the object that is casting it and becomes more diffused (lighter and softer-edged) the further away from the object the shadow goes.

Click here for slides from the class presentation.

Apple Drawing Project

What can you say about an Apple or what meaning can an Apple convey?
In this project we are exploring how an ordinary object can have meanings beyond what it is and what it looks like. We discussed how individuals might have different understandings of objects: not right and wrong, just different based on their personal experiences.
We looked at some historical meanings of the Apple in a few cultural traditions and saw how those symbolic meanings still persist. You could do some of your own research to see what you might add to our understanding of the "meaning of an apple".

Adam and Eve by Lucas Cranach the Elder, 1526

The Garden of the Hesperides by Frederick, Lord Leighton, 1892.

Apple Computer Logo, 1999

We will limit ourselves to working with a variety of grades of graphite pencils and make the most of that material.

We will develop a personal statement about an apple through the steps of the creative process.

• We will explore the initial challenge and see that there might be more than just appearances.
• We will brainstorm and sketch a number of possible concepts. 
• We will develop designs for the most interesting ideas before settling on one to develop as a full drawing. 

You can click here to see the slides from the class presentation.

Color Light and Shade

Color Light and Shade Painting

Can you, using the color theory described in the classroom demonstration, produce one acrylic painting based on the simple still life you and your partner set up? For the still life, use two or three of the color objects provided and a different color background fabric. Set up your objects so that some of the shadows cross from one color background to another. Using acrylic colors, lightly sketch out the general shapes of your objects using a thin, light color paint (so you can easily cancel out mistakes). Begin building up the form and mass of your objects using a variety of transparent colors seeing if the light and shade shows through from the black and white layer. Emphasize and even exaggerate the light and shade you observe in the scene. DO NOT USE BLACK! To create darker tones use darker versions of the object's local color or use additions of complimentary colors. 

Basic Color Information:

Primary Subtractive Colors: Red, Blue, Yellow
Secondary Subtractive Colors: Orange, Green, Violet
Complimentary Colors (opposites): Red & Green, Blue & Orange, Yellow & Violet
When placed near each other they neutralize each other.
When mixed, complimentary colors neutralize each other.

Other information for further research:
The electromagnetic spectrum.
The mantis shrimp.
Claude Monet
French Impressionism
After image