Adobe Tools and Illustrations

(CUTM 3114 (0-3-1))

Module-1
Softwares:
1. Adobe Photoshop CC
2. Corel Painter
3. Clip Studio Paint
4. Autodesk SketchBook
5. Krita

REFERENCE:
• 1.https://youtu.be/zrLBNYA_KNE
• 2. https://youtu.be/LLLT7X55hm0
• 3. https://youtu.be/P4fhqc6DdBE
• 4. https://youtu.be/L-Iy-TgfyFo
• 5. https://youtu.be/00FPHdLy3Nk
Perspective drawing is a technique used to depict spatial depth, or
perspective. In other words, it allows you to accurately draw a three
dimensional object onto a two dimensional plane.
 Perspective Drawing
Perspective drawing gives objects on a 2D surface a sense of
three-dimensionality. There are two types of perspective:
a) Linear perspective and
b) Atmospheric perspective.

There are typically three types of perspective drawing:

1.one-point perspective,
2.two-point perspective, and
3.three-point perspective.

https://mymodernmet.com/perspective-drawing/
 Perspective ruler terminology
 [Eye level]……The height of the eyes or camera of the person viewing the scene.
It will match the horizontal line(or horizon) on the canvas. Anything above the eye level will be a
composition where the viewer is looking up, and anything below it will be looked down upon.

 [Vanishing point]……The point(s) where an object’s width, depth, and height lines converge.
Vanishing points of width and depth lines parallel to the ground will always be on the eye level.

 [Guide]……The pair of lines stretching from the vanishing point. They will always be attached to a
vanishing point.
Other than as guides when drawing, they are used as controllers when deciding the position of
vanishing points.

 [Support]……Lines that are only displayed when drawing one-point perspective or two-point
perspective. They are support lines that indicate the vertical lines in the height direction.

Support lines can be used as drawing guides as they can be moved with the [Object] tool.

 [Handle]……Handles that are used to control the elements of the entire ruler, vanishing points, guide
lines and support lines.
 Linear Perspective
• It's a method of representing space in which
the scale of an object diminishes as the
distance from the viewer increases. Essentially,
objects that are farther away from us appear
smaller than those that are near. The position
at which they meet at a horizon line (the
intersection of where the ground meets the
sky) is called the vanishing point.
 ONE-POINT PERSPECTIVE
One of the best illustrations of single-point
perspective is to imagine that you’re looking at
a straight road. All of the elements of the
composition—particularly the road itself—will
converge at a single point on the horizon line.
Single-point perspective can be at any point along
the horizon line; the only stipulation is that all
lines lead to the solitary point. Although
elementary, it is evident in iconic works of art.
• One-point perspective:
One-point perspective is often used for compositions that look at objects from the front.

Lines extending from the foreground to the background gather (converge) at one point.
The point of convergence is called the “vanishing point”.
The vanishing point will always be on the horizontal line, or “eye level” of the scene,
which represents the height of the eye or camera of the observer.
 TWO-POINT PERSPECTIVE
Just as one-point
perspective focuses on
one vanishing point, two-
point perspective ushers
in a second one. Typically,
these two points are at
the opposite sides of the
composition, such as one
on the far left and
another on the far right.

Cube in two-point perspective

Two-point perspective
Two-point perspective is used for compositions that look at objects at an
angle. As it is close to what the human eye normally sees, it is the most
used perspective when drawing manga backgrounds and illustrations.
• In one-point perspective, lines converged on one point from the background to the foreground. In two-point
perspective, in addition to depth, lines representing width also converge.
• As seen in the example below, two lines going in different directions converge on their respective vanishing point.
• Hence the name “two-point perspective”. Even in two-point perspective, vanishing points are on the eye level.
 THREE-POINT PERSPECTIVE

Three-point perspective, also called multi-point, is a type of perspective that has more
than two vanishing points. This is common, especially as the complexity of the subject
matter grows. A standard setup features two vanishing points on the far left and far
right of the composition and then the third point below them. In doing this, you get a
bird’s eye view to the subject. If you were to place the third point above the two
vanishing points, it would create an extreme view looking upwards.
Three-point perspective
Three-point perspective is used for drawing compositions that are
looking up at a large object or looking down from a high place.
• In two-point perspective, lines representing depth and width converge on two
separate vanishing points.
• In three-point perspective, lines representing height stretch toward a third
vanishing point.
• For compositions that are looking up, the height vanishing point is above the object.
• When looking down, the height vanishing point is below the object.
 b) Atmospheric Perspective
• Linear perspective is based on mathematics and straight
lines, but atmospheric perspective relies on something
entirely different. Also called aerial perspective, it conveys
depth through value changes, colors, and visual clarity.
• One of the best ways to illustrate atmospheric perspective
is in a landscape photograph.
• Imagine you’re viewing a mountainscape far in the
distance. The formations closest to you will look the most
colorful and in the greatest detail. As the mountains appear
farther away, they have a dull, bluish cast covering them.
In atmospheric perspective, water, vapor,
and even smog affect what you see. As
there’s more distance between you and a
form, the increased particles result in less
visual contrast. It also has to do with
color wavelength. Blue color waves tend
to bounce around these particles, which
is why things take on this hue from long
distances.

This idea, that things closer to you are

brighter and easier to see, goes hand-in-
hand with values in compositions. Things
that are high contrast (a combination of
light tones and dark tones) are more eye-
catching than low contrast. In the above
painting, the trees in the backdrop
practically disappear because their tone is
nearly the same as the rest of the sky.
 Basic elements of perspective drawing
• In order to understand human perception, there are three important tools for
perspective drawing: The horizon line, vanishing points, and vanishing lines.
1.)The horizon line
• Although the earth is round, the horizon line appears to us as a clear separation between
the ground and the sky. Usually it is covered by trees, hills, or buildings and we don’t
consciously notice it. Only looking at the ocean clearly shows us the horizon line. The
horizon line plays an important role in drawings. It demarcates the ground, which
represents the foundation for us. If we want to convey three-dimensionality, we always
need to use this foundation as a reference.
• The horizon line is always at the eye level of the viewer. However, viewers can have
different heights, which means the height of the horizon line will shift. That is why a
distinction is made among three different perspectives: The bird’s-eye view, the normal
perspective (based on ourselves), and worm’s-eye view.
2)The vanishing points and vanishing lines

The vanishing point is where all parallel lines intersect and is

always on the horizon line. Using the example of a straight
road clearly illustrates what this means. Imagine a street with
a consistent width that stretches into the distance. If you look
directly at the street from above, both sides form parallel
lines. However, if you stand on the street and look into the
distance, the two lines seem to converge.

https://www.tomboweurope.com/en/inspiration/perspective-drawing
SINGLE POINT PERSPECTIVE

All vanishing lines lead to a central point. The horizontal and vertical lines,
however, remain parallel to each other.
 TWO-POINT PERSPECTIVE

In the two-point perspective, also known as the corner perspective, there are two
vanishing points along the horizon line. This is usually used when the viewer looks at
the corner of an object. This corner divides the picture. Each side follows its own
vanishing point.
The perspectives of the vanishing points can be combined with the perspectives of the
horizon lines. In our example you see all three horizon line perspectives combined
with the two-point perspective.
THREE-POINT PERSPECTIVE

If you want to give the viewer of your picture the feeling of height and depth,
you can add another vanishing point. All vertical lines lead to this point. It is an
extension of the two-point perspective.
 references
https://www.studentartguide.com/articles/one-
point-perspective-drawing
The Theory
1.)Rays of light and the eye
• Why does a tree that is 30 feet away appear smaller than one that is only 15 feet away? In
order to explain this phenomenon, we first need to use a simple model to understand how
our eyes work.
• We perceive our surroundings through rays of light that enter our eyes. These always meet
the same point in our eye, where they are then refracted and projected onto our retina.
Because of this, the rays of light from a tree that is further away reach our eyes at a sharper
angle than a tree that is directly in front of us. As a result, we get a mirror image on the
retina: A small tree and a large tree. After our brain processes this information, it turns the
picture right side up and knows that one of the trees is further away.
• A painted picture, however, cannot transport light rays to our eyes at different angles.
That’s why it’s necessary for us to create our drawing how it is perceived after it’s
processed by our eyes. Perspective drawing helps us with this.
 Isometric Perspective
• By definition, an axonometric drawing is a three
dimensional technical drawing where all the
dimensions of the projection are drawn in reference to
a coordinate system.
This coordinate system varies for each type of drawing
and can have different units of measurement along
each axis.
Axonometric actually means ‘measured by axees’ and it
is a very affordable way of drawing a three dimensional
technical volume that has scale and represents the
specific architectural volume or composition in a
measurable way which would not be possible
otherwise.
In real life everything we see is in perspective and,
hence it cannot have a scale or it cannot be measured
in any way.
• Isometric axonometrics are by far the most popular and
have all three axees at 120 degrees distance from each
other, with the same unit of measure for all three axes.
to draw simple primitives – this 1. Simple primitives in isometric
will give you the visual
vocabulary you need in
order to understand how to
draw in axonometric
everything you want.
Just like all objects,
axonometric volumes
eventually break down into
simple primitives such as
prisms, cubes, cones,
cylinders and spheres.
You can draw all these
simple primitives in
isometric perspective with
cast shadows.
Here is an example of how this
would work:
 Isometric Projection
• Isometric projection is a method for visually representing
three-dimensional objects in two dimensions in technical and
engineering drawings.
• It is an axonometric projection in which the three coordinate
axes appear equally foreshortened and the angle between
any two of them is 120 degrees.
• Pictorial projections are utilized for presenting ideas that
might be easily understood by persons, even without
technical knowledge and training of multi-view drawing.
• The Pictorial drawing shows several faces of an object in one
view, approximately as it appears on the eye.
• This applies for architecture, product design and interior
design.
Principle of Isometric Projections
• It’s a pictorial orthographic projection of an object where a transparent cube containing the
object is tilted before one of those solid diagonals of the cube becomes perpendicular to
the vertical plane along with the three axes are equally inclined to this vertical plane.
• The isometric projection of a cube in steps is shown in the below figure-1. Here ABCDEFGH
is the isometric projection of the cube.

Principle of Isometric Projections

The front view of this cube, resting on one of its corners (G), is the isometric
projection of the cube. The isometric projection of the cube is reproduced
shown in the below figure-2.
Isometric Scale
• In the isometric projection of a cube shown in the show above figure-2, the top face ABCD is sloping away
from the observer, and hence the edges of the top face will appear fore-shortened.
• The true shape of the triangle DAB is represented by the triangle DPB. The extent of reduction of an
isometric line is easily found by the construction of a diagram known as isometric scale.
• For this, reproduce the triangle DPA as shown in the show below figure-3. Mark the divisions of true length
on DP. Through these divisions, draw vertical lines to get the corresponding points on DA.

The divisions of the line DA give dimensions to isometric scale. In the triangle
ADO and PDO at the show above figure-2 ( An Isometric Cub), the ratio of the
isometric length to the true length,
i.e., DA/DP = cos 45° /cos30° = 0.816
The isometric axes are reduced in the ratio 1:0.816, i.e., 82% approximately.
Lines in Isometric Projection
• The following are the relations between the lines in isometric
projection which are evident from the show above figure-2 ( An
Isometric Cub)
• The lines which are parallel to the object are parallel at the
isometric projection.
• Vertical lines on the object appear vertical at the isometric
projection.
• Horizontal lines on the item are drawn at an angle of 3 0° with the
horizontal at the isometric projection.
• A line parallel to an isometric axis is called an isometric line, and it’s
fore-shortened to 82 percent.
• A line that’s not parallel to any isometric axis is known as the non-
isometric line, and the extent of the fore-shortening of non-
isometric lines is different if their inclinations with the vertical
planes are different.
 • Isometric Projection Views
Shows in below Figure (a) rectangular block in pictorial form and Shows in
below Figure (b), the steps for drawing an isometric projection using the
isometric scale.

a – Isometric Projection

b – Isometric Projection
Isometric Drawing
• Drawing of objects are seldom drawn in true isometric projections, since
using an isometric scale is inconvenient.
• Instead, a convenient way in which the foreshorten-ing of lengths is ignored
and actual or true lengths are utilized to obtain the projections, known as
isometric drawing, or isometric perspective is normally utilized.
• This is advantageous because the measurement could be made directly
from a drawing. The isometric drawing of the figure is slightly larger
(approximately 22%) than the isometric projection.
• Since the proportions are the same, the increased size doesn’t affect the pictorial
value of this representation, and at the same time, it might be done quickly.

Isometric
Drawing
Steps to be followed to make an Isometric drawing from orthographic
views are given below

• Study the given views and note the principal dimensions and other features of this object.
• Draw the isometric axes (a).

a- Orthographic View
Mark the principal dimensions to-their true values along the isometric axes (b).

b- Isometric View

Complete the housing block by drawing lines parallel to the isometric axes and passing
Through the above markings (c).

c- Isometric View
Locate the principal corners of all the features of the object on the three
faces of the Housing block (d).

d- Isometric View

Draw lines parallel to the axes and passing through the above points and obtain
the isometric Drawing of this object by darkening the visible edges (e).

https://
civiljungle.com/
isometric-
e- Isometric projection/
View
Short Note
• Definition of Isometric Drawing
Isometric drawing, also called isometric projection, method of graphic representation
of three-dimensional objects, used by engineers, technical illustrators, and,
occasionally, architects.
• What Is Isometric Scale?
An isometric scale can be used to draw correct isometric projections. All distances in
this scale are 2/3 × true size, or approximately 80% of true size.
• Isometric Drawing
An isometric drawing is a type of 3D drawing that is set out using 30-degree angles.
It’s a type of axonometric drawing in which the same scale is used for every axis,
resulting in a non-distorted image.
• Isometric View
Isometric projection is a method for visually representing three-dimensional objects in
two dimensions in technical and engineering drawings. It is an
axonometric projection in which the three coordinate axes appear equally
foreshortened and the angle between any two of them is 120 degrees.
• Isometric Projection Drawing
Isometric projection is a method for visually representing three-dimensional objects in
two dimensions in technical and engineering drawings. It is an
axonometric projection in which the three coordinate axes appear equally
foreshortened and the angle between any two of them is 120 degrees.
 Atmospheric perspective
Atmospheric perspective (or aerial perspective)
refers to how the atmosphere affects how we
see objects as they recede into the distance.
Atmospheric perspective indicates that as an
object recedes into the distance relative to the
viewer, we see that object with reduced
clarity, value and color saturation. In addition,
objects in the distance appear to have a
relatively cool color temperature.
Atmospheric And Linear Perspective
• There are two types of perspective - atmospheric and linear. As noted above,
atmospheric perspective refers to how the atmosphere affects how we see
things. Linear perspective on the other hand, refers to the relative size of
objects and how an object appears smaller as it recedes into the distance.

• Knowledge of both atmospheric and linear perspective is essential for

learning how to paint with accuracy. But most of the time when we think of
perspective we only consider linear perspective.

• Leonardo da Vinci was one artist who understood the importance of

atmospheric perspective and, based on his extensive writing on the subject,
considered it to be of equal importance to linear perspective in painting.
Many of da Vinci’s paintings have an almost ethereal feel to them due to
clever use of atmospheric perspective to create the illusion of depth.
Atmospheric Perspective
And Realism
• Atmospheric and linear
perspective are both
essential parts of creating
realistic paintings as they
reflect how we actually
see things. However,
linear perspective is much
easier to demonstrate
when architectural
elements are present (like
in the painting below by
John Singer Sargent).
Obviously, in landscape
and seascape paintings,
architectural elements are
not always present, so we
must instead rely more on
atmospheric perspective
to create the illusion of
depth.
The 4 Keys To Creating The Illusion Of Atmospheric Perspective
1. Texture
• Texture can refer to two things:
1)- The physical texture of your paint; or
2)- The illusion of texture in your painting (for example, using the scumble technique
to create the illusion of dry bark on the side of a tree).
• To create the illusion of depth in your paintings, you can use more texture in the
foreground contrast against a much smoother background. This reflects how we
actually see detail. When you are looking at a landscape scene, you are able to see
all the tiny details and textures in the foreground - all those stones, strands of grass,
branches, insects, plants, etc. You can paint these details with increased texture in
the foreground, both with a physical build-up of paint and with increased activity in
your brushwork and colors.
• But as you look further into the distance, all these little details and textures
disappear and smooth out into a general mass of colors and shapes.
2. Value
• Value is how light or dark something is, on a scale of black to white (with black being the
lowest value and white being the highest value). You can read more about value in this
post.
• When an object recedes into the distance, it appears as though it has a higher value
than it actually is. In other words, objects in the distance are tinted (are a few values
lighter).
• In the painting below by Claude Monet, notice how the distant cliffs on our left have a
higher value (are lighter) than the cliffs which are closer to us. Also, notice how the sky
sitting just above the horizon is lighter than the rest of the sky. This pushes these areas
back in the painting and creates that illusion of depth.
3. Clarity
• This is a simple concept but one which beginners seem to struggle with. When you look at an
object in the distance, it will appear to have much less clarity and detail than when you view
that same object up close.
• So when you are painting those mountains in the distance, you do not need to paint all the
rocks, shadows, trees and other particular details. You can really simplify the detail to create
the illusion of atmospheric perspective.
• In some cases, you may even want to over-simplify the background to really exaggerate the
sense of depth in your painting.
• In the painting by Turner below, compare the level of clarity between the foreground and the
background. The background almost has no detail and is merely there for atmospheric effect.
The most detailed part of the painting is the part which is nearest on our right.
4. Color Temperature And Saturation

Generally, the color temperature of an object tends to shift towards the cool
side (which is on our left in the color wheel below and includes the blues,
purples and greens) as it recedes into the distance. Colors also appear less
saturated (less intense) in the distance.
atmospheric perspective is and how you can use it to create the illusion of depth in your
paintings, particularly your landscapes and seascapes where you are not able to easily
demonstrate linear perspective.
Effects:
1. Diminishing size
Effect: As objects recede, they reduce in size.

2. Diminishing detail
Effect: As objects recede, detail disappears.

3. Diminishing contrast
Effect: As objects recede, the value contrast between the object and its
background diminishes.

4. Lightening of overall values

Effect: As objects recede, values begin to get lighter.

5. Neutralization of color/possible shift to blue

Effect: As objects recede, colors begin to fade and may shift toward blue
Benefits of Atmospheric Perspective

1. Painters can save time

2. Mood control
3. Make images more visually interesting and exciting.
4. Viewer participation
5. Added sense and perception of depth
6. Dramatic layering effect
7. Visual communication tool
8. Compositional tool

http://www.arthints.com/8-benefits-of-atmospheric-
perspective/
 Atmospheric perspective
– also called aerial perspective – is the effect you get
when far away objects take on the colors of
atmospheric haze.
(1) Objects’ saturation decreases with distance.
Distant objects’ colors blend with and take on some of the
atmosphere’s colors. So they lose their original color
saturation and take on the atmosphere’s saturation. If
you’re working in gray scale, then the more distant
objects gradually acquire the value (tone) of the
atmosphere with distance. The following 2 diagrams
illustrate this point:
(2) Contrast decreases with distance.

Decreased saturation and contrast explain why it’s harder to

see/resolve fine details for far away objects even through binoculars.
Low contrast means that there isn’t much difference between the
brightest and darkest areas. Low contrast does not mean blurred!

(3) Brightness increases with distance.

Have you noticed how in many movie scenes, anything near the
camera is usually darker than what’s farther away? See if you can
spot this next time you watch a movie. Film directors will often
“smoke a set” with dry ice and then back-light the smoke to achieve
an atmospheric effect, even for outside sets like jungles where lots
of smoke is needed!
The above diagram
shows how aerial
perspective affects
contrast and brightness.
Area
1. has maximum contrast
between the land and
lake with the land being
almost black. By the time
you reach area 5 the
contrast is almost gone
and brightness has
increased.
• (4) Edges remain sharp even when far away.
Look closely at the images in this post to convince
yourself this is true, particularly at the edges of
mountains. There are two exceptions to this rule:
a. You want to blur the background on purpose to create
an out of focus effect (technically called camera lens
depth of field effect).
b. Heat induced shimmering effect as in the desert mirage,
looking through jet exhausts, and reflections above hot
tarmac. This is caused by variations in atmospheric gas
density acting as a lens between the viewer and the
object.
(5) Atmospheric Perspective Is Even Visible at
Night!

In this long exposure of Los Angeles you can see the aerial perspective in the upper
half of the frame.
• (6) Atmospheric perspective appears in media other than air.
Examples include underwater and in the atmospheres of other planets

In this Mars vista taken by the rover Spirit, note the yellow-orange
atmospheric color tinting the mountains in the distance.
• (7) As the aerial perspective effect intensifies (e.g. heavy fog, pollution), the distance at which objects take on the atmosphere’s
color and value decreases.
In other words closer objects become more affected by atmospheric haze as the effect intensifies.
 • (8) Atmospheric perspective may be weakened by strong lighting.
If there is extra lighting on something in the distance – for example due to the sun illuminating something
through a break in the clouds – that lit object will regain more of its original contrast and saturation
compared to unlit objects at a similar distance. Check out this amazing painting by Andrée Wallin:

The mountaintop lit up by a ray of sunlight is visible in great detail compared to its darkened
surroundings. The fog shrouded ship silhouette adds a sense of mystery to the piece.
Studying Andrée’s painting it is clear he deeply understands aerial perspective and has
applied this knowledge to impressive effect.
Factors That Affect Atmospheric Perspective
1.Pollution
Smoggy industrial cities have more dust, soot and other sun-scattering particles in the air causing stronger
atmospheric perspective effects compared to smog-free locations. With air pollution, the aerial
perspective effect tends to be strongest near the ground, like a yellowish ground fog that rises up to
several hundred meters from the Earth’s surface.
2. Time of Day
Atmospheric perspective is at its most spectacular at dawn or dusk. When the sun is low in the sky, sunlight
produces an array of rich and varied colors in the atmosphere – reds, oranges, yellows, and purples. Distant
objects take on these colors making the view more interesting than at other times of the day. Other lighting
effects may come into play, like light rays or Jacob’s ladders.
3. Humidity, Fog and Mist
Humidity, fog and mist all magnify the aerial perspective effect due to water particles suspended in the air
that scatter light. Typical examples are humid, steamy jungles and cold misty mountains. The mist in the
photo above gives it depth and a sense of mystery.
4. Storms and Rain
Storms and rain reduce visibility but their effect on atmospheric perspective may be less uniform and more
random than in calm weather. When viewing a large sweeping vista, visibility may vary throughout the
scene. For example, some regions in the image may experience heavy rain and a strong aerial perspective
effect while others could be in full sunlight. The photo above of a storm over Lake Peyto, Canada shows
how the aerial perspective effect on the mountain at right is strengthened by a descending curtain of rain.
5. Wind and Dust
Regions where there’s a lot of dust or sand on the ground can get strong aerial perspective during and
after strong winds pick up the particles into the air. Distant objects would be tinted with the dust color as
can be seen in the above photo taken after the 2009 dust storm in Sydney, Australia. The haze is tinted red
due to the red sand that characterizes Australia’s deserts.
 Basic Element of Light, Shadow and
Shading
• Shading is the process of adding value to
create the illusion of form, space, and most
importantly - light in a drawing. When
executed correctly, shading can make a
drawing appear three dimensional and create
a convincing image.
• When rendering a drawing that communicates
volume, shading is absolutely critical.
Shading Techniques for Drawing
Techniques used for applying shading to an object are quite varied. Each technique produces a
different texture and "feel" to the drawing. The drawing medium used may determine the
shading technique that is applied in the drawing.
• The most common application techniques include:
a)Hatching - Lines drawn in the same direction. By drawing lines closer together, darker values are
created. Leaving more space between lines results in lighter values. For rounded objects, the
lines may curve slightly around the form - following the contours of the object.

b)Cross-Hatching - Lines cross over each other. The density at which the lines cross over
each other determines the value that is produced.
c)Blending - Smooth gradations of value are produced either by adjusting the amount of
pressure applied to the medium or by using a blending tool, such a blending stump.

Rendering - Using an eraser to remove the medium to produce lighter values. This
technique is typically used in conjunction with blending.
Random lines - Loose applications of crossing lines. The frequency in which
the lines cross over each determines the value produced.

Stippling - Applying countless small dots to build up darker values in a drawing. The
density of the dots determines the value produced.
2)The Illusion of Light
• It's easy to get caught up in the technique in which the material is applied and loose sight of
the reason why we apply shading in the first place.
• Light is how we see, after all, and shading informs us of the light within a scene. We
understand the light within the scene through the use of value and contrast.

Value is the darkness or lightness of a color. Light values are called tints and dark
values are called shades.
• Contrast deals with difference. Contrast is produced when any difference between elements
such as texture, color, size, or value occurs. It can be subtle or extreme. When it comes to
shading, we are mostly concerned with the contrast that is produced from changes in value.
• When light hits the subject, it produces a range of contrasting values. The intensity of the light
determines the contrast of values. Generally, the stronger the light - the higher the contrast.
 Values are arranged on the subject according to the location and intensity of the light
source (or sources). To simplify the manner in which light behaves on a subject and
surrounding objects, we'll look at what happens with just one light source on a smooth
surface.

The locations of each area of value on the subject tell the viewer about the location
of light and how the light behaves on the subject. The behavior of light (or how it is
reflected) on the subject informs us about the texture and form of the subject.
• Locations of Value:
Highlight - The highlight is the location on the subject where the reflection of light is most intense.
Highlights are typically indicated by a very light value of the color or in some cases - white.
• Mid Tone - Mid tones are areas on the subject where some light is hitting, but in a manner that is
less intense than the highlight. In many cases, the mid tone is the actual color (local color) or value
of the subject.
• Core Shadow - The core shadow is the area on the subject where light is prevented from hitting,
producing an area of shadow. Core shadows are typically darker values of the local color.
• Cast Shadow - Cast shadows are locations of darker value that result on surrounding objects or
surfaces. Light is blocked from reaching these areas completely because another object is reflecting
much of the light away.
• Some light is reflected back off of surrounding objects and surfaces. This light bounces back onto
objects producing an area of lighter value.

This area of slightly lighter value is referred to as a reflected highlight.

• How to Shade Forms
• As mentioned before, shading also informs the viewer of the form of the object. With a sphere, the change
in value is gradual (gradation). Value becomes darker or lighter, depending on the lighting conditions. The
same is true for other curved forms such as cones or cylinders.
• For objects with flat sides (i.e. cube), the value stays fairly consistent for each side without much gradation.
Each side of the cube may be a different value representing the highlight, mid tone, or core shadow.
• But what about objects that have flat sides or planes that aren't cubes?

It is these situations where contrast plays an especially important role.

When shading, our goal is to depict the illusion of form and light. In most
situations, this requires adding a full range of value. By comparing
contrasting areas, we can evaluate the value in the drawing and make
adjustments as necessary.

During the drawing process, a dark background is added. Adjustments to the values on the
subject are made according to the contrast of values in the background and the table.
Comparisons are made and the values are "pushed" in order to create a full range.
We can also exploit contrast to create edges and define the planes of the
irregular form. By making the edges of each plane that are closer to
the light source "a touch" lighter, we increase the contrast in value
between each plane.
How to Shade Hollow Forms
• Many objects are hollow or have recesses. To address objects such as these, we simply consider the direction of light, thinking of it as a line.
• If light is coming from a certain direction, then it should continue until it hits an object. If the object is hollow, then the light will enter into the
recess, producing an area of lighter value inside of it. Shadows are created on the opposite side of the edge of the recess, closest to the light
source.

The outside of the hollow form is addressed as normal, with shadows further from
the light source and highlights close to it.
Controlling the Medium
• No matter which medium that you use to apply shading, control over the
value produced is of paramount importance. The good news is that
control over the medium simply requires patience and practice.
• Once you have a clear understanding of how light behaves and how you
can communicate it to the viewer, then you are already "half-way" there.
• Practice drawing a few basic forms - a sphere, cube, and pyramid. Shade
them to communicate one light source using a full range of value. (Use
contrast to make comparisons).

These are basic forms, move on to irregular forms and simple still life
objects like apples or bananas. Look for the highlights, mid tones, core
shadows, cast shadows, and reflected highlights.

https://thevirtualinstructor.com/shading-techniques-basics.html
 Drawing Light and Shadows
• Light and shadows visually define objects. Before you can draw the light and shadows you see, you need to train
your eyes to see like an artist.
• Values are the different shades of gray between white and black. Artists use values to translate the light and
shadows they see into shading, thus creating the illusion of a third dimension.
• Hatching and crosshatching are simple and fun techniques for drawing shading.
• A full range of values is the basic ingredient for shading. When you can draw lots of different values, you can
begin to add shading, and therefore depth, to your drawings.
• With shading, the magical illusion of three-dimensional reality appears on your drawing paper. Figure 1
demonstrates hot to take a simple line drawing of a circle and add shading to transform it into the planet Earth.

You know the objects around you are three-dimensional because you can walk
up to them, see them from all sides, and touch them. Take a moment to look
around you at familiar objects. Try to discover why you see their actual three-
dimensional forms. Look for the different values created by the light and
shadows.
Taking a closer look at light and shadow
• Before you can draw the appropriate values that illustrate light
and shadows correctly, you need to be able to visually identify
the following:
• Light source: The direction from which a dominant light
originates. The placement of this light source affects every
aspect of a drawing.
• Shadows: The areas on an object that receive little or no light.
• Cast shadow: The dark area on an adjacent surface where the
light is blocked by the solid object.

The light source tells you where to draw all the light values and shadows
• Figure 2 gives you some practice in locating the light source, shadows, and cast shadows around an object, which in this case is a
sculpture. As you look at two drawings of the sculpture, ask yourself the following questions:
• Where are the light values? Look for the lightest areas on the object. The very brightest of the lightest values are called highlights.
• Where are the dark values? Dark values often reveal the sections of the object that are in shadow. By locating shadows, you can
usually identify the light source.
• Where is the cast shadow? The section of the cast shadow closest to the object is usually the darkest value in a drawing. By locating
an object’s cast shadow, you can easily discover the direction from which the light source originates.

Figure 2: Looking for light and dark values and cast shadows.
The two drawings in Figure 2 have different light sources. Compare them and find the
dominant light source in each.
If you guessed that the light is coming from the right in the first drawing, you would be
correct. In the second drawing, the light originates from the left.
• Each time you reposition the light source,
identify the following:
• The shadows on the object (dark values)
• The brightest areas (the highlights)
• The light values (areas closer to the light
source or not in shadow)
• The cast shadow (the darkest values)
Exploring contrast in a drawing
• Contrast can be used to make your drawings more three-dimensional
by accentuating the light and shadows. By using extremes in values
(more light and dark values than middle values) you create a high–
contrast drawing. For a really powerful, strong, and dynamic
drawing, you can draw very dark shading right next to the light areas.
• When a drawing has mostly light and middle values, it is called low
contrast. Some drawing subjects need to be soft and gentle. You can
create a very soft drawing and still use a full range of values. Think
about a white kitten, for example. Most of the shading is very light,
but the drawing becomes more powerful if you use a little dark
shading in a few selective areas, such as the pupils of the eyes and
the shadows.

Your drawings can appear flat rather than three-dimensional when you use too
little contrast in values. Unless you are trying to achieve a specific mood or
want the subject to look flat, always use a full range of values.
 • Figure 3 helps you see contrast while exercising your vision. Take a few moments to explore
the light and shadows in this drawing more closely. The face of the girl is drawn in profile. The
boy’s face is a frontal view. Notice how the girl’s profile is in the shadow of the boy’s face.
• The bright light on the front of her face presents a strong contrast to the dark shadow on the
side of his face. This makes for a powerful visual separation even though the two faces seem
close together.

Figure 3: High contrast makes a drawing appear more three-dimensional.

• Translating values you see into values you draw
• Almost everything has more than one value.
Depending on the light source, most things have some
areas that are very light and others that are quite dark.
• If you look closely at a mound of dark earth, you
notice that it has several different values. If a fresh
layer of snow covered this mound of earth, there
would still be lots of values. When you can see a range
of different values you can draw your subject in the
third dimension.
• Squinting to see values and simple shapes
• Seeing values is key to drawing in the third dimension. Many artists can visually simplify complex drawing subjects by simply squinting their eyes.
Squinting helps you screen out details and see simple values and shapes. When you can see the shapes created by different values, you can draw your
subject more accurately.
• Look at Figure 4 and squint your eyes until the image seems to go out of focus. Compare the darkest values to the lightest, and try to see the abstract
shapes created by the different values.
• The second drawing shows what you may see when you squint. Take note of the shapes created by the values.
• Turning colors into values with squinting
• Many drawing media, such as graphite, are designed for
black and white drawings. Yet, almost everything in the
world is in color. You need to adjust your visual perceptions
to see these colors as shades of gray when drawing.
• Wouldn’t it be nice if you could simply press a button in the
middle of your forehead and magically transform the world
from full color to gray values? This ability would certainly
make drawing a lot easier. Thankfully, simply squinting your
eyes can help you develop this skill.
• Look around you at different objects. Focus on only the light
and dark areas and not the actual colors. Concentrate on the
light and shadows. Then squint your eyes until you see the
values of that object.
• Take a mental note of where the lights and darks are. Think
about how you could draw these darks and lights. Don’t get
discouraged if you can’t do it right away. With practice, you
get better.
• Find a colored photograph with lots of contrast. Squint your
eyes to block out the colors and details. In your sketchbook,
draw only the simple shapes and values you see. Add shading
with only black, white, a light value, and a middle value.
https://www.dummies.com/art-center/performing-arts/
drawing/drawing-light-and-shadows/
Colour Theory