The Form Principle: diffuse light is an important thing to note. we already know core and cast shadows. top planes, side planes, front planes - see figure drawing work.
Separation of light and shadow - how colors change in lighting can inform how we make our work or light colors. Colors look different relative to each other. (checkerboard illusion) relative color to lighting even tho our brains tell us something is supposed to be darker. lighting changes value steps and lighting rations
Going deeper!
Cast Shadows: luminous glow that fills shadows. look at other objects lighting things up besides the sky, clouds, plants or other bright objects. Shadow can create depth.
Half Shadow- edge of shadow is soft, suggesting far away light. in light, brighter and warmer to contrast the cool shadow. Water color - pre washes for shadows. Good for dramatic lighting
Occlusion Shadows- crevice shadows, occur wherever two forms touch each other or wherever a form touches a floor. (dark line where fingers touch).
three quarter lighting - light is low enough to light both eysin in 45 degree lighting in portrait painting. there can be a cooler light causing the shadow fill. Short lighting can help make a face look thinner. Rembrandt lighting
Frontal lighting - similar but lit directly on, good for profiles. outline is real here, thin line of shadow on the very edge of the form. close study of weight changes
Edge/rim lighting - touches the sides of the form, separating it from the background. needs a relatively strong source of light. dramatic shadow on the ground.
Contre Jour - backlighting where the subject hides the source of the light.. the field of light takes an active presence, almost surrounding of infusing the edges of the object. silhouette. Vignette. Nearer sides of the form are cooler and darker (light is hazy), effective to to keep a little color in the background haze and lower it from white.
Light from Below - can have dramatic connotations depending on the study. night underlighting suggests some things magical and mystical.
Reflected Light - filling the shadows, every object in a scene that receives strong light becomes its own source of light. Any nearby area with a shadow is affected by it. upfacing planes in shadow outside are usually blue (bc the sky) or green (foliage). upfacing - cool and downfacing - warm. Reflected colors are the sum of all colors in a subject plus the local color of the object.
Spotlighting - wraps around the form. colored spotlights cast shadows with chromatic edges or eyelights for emphasis.
Limitations of the Form Principle - solid objects are predictable but things that are not solid usually require a more flexible approach. clouds transmit a greater quantity of light to the shadow side through internal scattering than the volume of light they pick up from secondary sources. Don't make it look like a lump of plaster, careful observation. Foliage is also variable in how light interacts with it
Separation of light and shadow - how colors change in lighting can inform how we make our work or light colors. Colors look different relative to each other. (checkerboard illusion) relative color to lighting even tho our brains tell us something is supposed to be darker. lighting changes value steps and lighting rations
Going deeper!Cast Shadows: luminous glow that fills shadows. look at other objects lighting things up besides the sky, clouds, plants or other bright objects. Shadow can create depth.
Half Shadow- edge of shadow is soft, suggesting far away light. in light, brighter and warmer to contrast the cool shadow. Water color - pre washes for shadows. Good for dramatic lighting
Occlusion Shadows- crevice shadows, occur wherever two forms touch each other or wherever a form touches a floor. (dark line where fingers touch).
three quarter lighting - light is low enough to light both eysin in 45 degree lighting in portrait painting. there can be a cooler light causing the shadow fill. Short lighting can help make a face look thinner. Rembrandt lighting
Frontal lighting - similar but lit directly on, good for profiles. outline is real here, thin line of shadow on the very edge of the form. close study of weight changes
Edge/rim lighting - touches the sides of the form, separating it from the background. needs a relatively strong source of light. dramatic shadow on the ground.
Contre Jour - backlighting where the subject hides the source of the light.. the field of light takes an active presence, almost surrounding of infusing the edges of the object. silhouette. Vignette. Nearer sides of the form are cooler and darker (light is hazy), effective to to keep a little color in the background haze and lower it from white.
Light from Below - can have dramatic connotations depending on the study. night underlighting suggests some things magical and mystical.
Reflected Light - filling the shadows, every object in a scene that receives strong light becomes its own source of light. Any nearby area with a shadow is affected by it. upfacing planes in shadow outside are usually blue (bc the sky) or green (foliage). upfacing - cool and downfacing - warm. Reflected colors are the sum of all colors in a subject plus the local color of the object.Spotlighting - wraps around the form. colored spotlights cast shadows with chromatic edges or eyelights for emphasis.
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