Light and shadow in Chinese painting. Learning to see light and shadow

Surely, each of you has encountered slight sadness and apathy on a cold cloudy day, which instantly turns into causeless inspiration in bright sunny weather. Perhaps the whole point is a lack of vitamin D, which we produce in the sun, but there is another secret. Depending on the lighting, the color palette of all objects around us completely changes. In clear weather we see rich colors and sharp shadows, which are synonymous with dynamism and positivity; on cloudy days, shadows are blurred, and a feeling of calm or even slight sadness is created due to the decrease in contrast. In addition, the natural color of objects depends on the temperature of the lighting, which also affects our impression of the landscape around us.

Often they pay attention only to the tonal modeling of the form, depicting the same color in the shadow of an object as in the light, only with a difference in tone. This is a serious mistake because the color always changes. It is impossible to paint both light and shadow with the same pigment!

To create a realistic image of objects, you must remember the following axioms:

1. If the lighting is warm, then cool shades appear in the shadows, and vice versa, if the lighting is cold, warm shades appear in the shadows.

For example, if we paint a landscape in bright sunlight on a cloudless day, then there may be warm shades in the shadows, since daylight is most often white, bluish or lemon-colored and is considered cool light. At sunrise and sunset, sunlight is usually warm - bright yellow or orange, so cool bluish and bluish shades appear in the shadows.

K. Monet “Rouen Cathedral: portal and tower of Saint-Romain: morning effect.” K. Monet “Rouen Cathedral: Portal and Tower of Saint-Romain: Noon.” C. Monet “Rouen Cathedral: portal and tower of Saint-Romain: effect of the sun, end of day”

In the same way, if we paint a still life under an electric incandescent lamp, the shadows will become noticeably colder, you will see shades of blue, purple or even green. Also, in the flames of a fire or a candle, which provide warm lighting, cold shades appear in the shadows. However, when using a fluorescent lamp with cold light (from 4000 K), the shadows will become noticeably warmer, as with cold moonlight.

The following tables will help us understand the temperature of light

2. In the shadow, shades appear that are opposite on the color spectrum to the local color of the object.

This simple means that in the object's own shadow we can see shades of a complementary color. For example, you are painting a still life with a red apple, a peach and blue grapes. The complementary color for red is green, for yellow it is purple, and for blue it is orange. This is why in the shadows you will be able to see shades of green, purple and orange respectively.

If we look at the color wheel, these pairs will be: yellow and purple, green and red, blue and orange. And intermediate ones between them, respectively.

3. An object illuminated by warm light and having a warm local color becomes even brighter and more saturated in the light, and an object having a cold local color becomes closer to an achromatic color that is equal in tone.

And an object that has a cold local color becomes even brighter, louder and more saturated.

For example, we draw an orange illuminated by a lamp with warm light. In the light, the orange area will appear even brighter and more saturated than it already is, while in the shade the orange color will not only become noticeably colder, but will also lose color. This effect can be achieved using blue paint. Many people know that complementary colors placed next to each other on a canvas enhance each other. But not everyone knows that complementary colors, when mixed with each other on the palette, neutralize each other. If we illuminate this orange with cold daylight, then in the light its color will become more faded, while “burning shades” will appear in the shadows.

These simple rules allow you to predict what color will appear in the shadows or in the light and choose the right shades for mixing. That's all. Happy drawing!

LIGHT AND SHADOW, CHARIOUSCARO- the most important paired categories of theory and practice of fine arts.

The volumetric shape of objects is conveyed in the drawing not only by surfaces constructed taking into account perspective cuts, but also with the help of chiaroscuro.

Chiaroscuro - the distribution of illumination observed on the surface of an object, creating a scale of brightness, a very important means of depicting objects of reality, their volume and position in space.

Physically light represents the visible part of the spectrum of electromagnetic radiation from the Sun, i.e. the range of oscillations of the electromagnetic field that the human eye can perceive. These vibrations, hitting the retina of the eye, cause stimulation of the optic nerves, which gives rise to a sensation of radiance. The ability of various objects and their material surface to absorb, reflect and refract light rays in different ways gives rise to the feeling of coloration.

However, the phenomenon Sveta should be separated from the concept of tonal, in particular chromatic, relationships, i.e. color. The last quality is subjective; color exists only in the process of visual perception and presentation of objects. Light - « almost darkness, the first glimpse Sveta in darkness, the first manifestation of being from nothingness«.

White, undyed light with the help of a prism, it can be decomposed into seven color rays of the spectrum and vice versa: the opposite tones of the chromatic series, when combined, give white color.

However, in an aesthetic sense light indivisible; when artificially split, it loses its own quality and is reduced to materiality. Coloring Sveta- not its own property, but the result of interaction with material bodies and the light environment that it fills.

Light- goodness, a comprehensive symbol of the Divine origin of the world ( In. 1:5). Dante Alighieri in " Divine Comedy" calls " material light » empyrean ( Greek empyreios - “fiery, fiery country”). Branch Sveta from darkness, space from chaos is the basis of all aesthetic and philosophical ideas about the world.

In the visual arts, these ideas are expressed using polar ( opposite) symbols: solar( solar) and lunar signs, emblems of the masculine and feminine principles of nature.

Kingdom fight Sveta And darkness- the main theme of myths.

In the history of fine arts light And shadow are interconnected because they are used as visual means. Hence the generalized concept: chiaroscuro, which implies a certain quantitative relation of qualities Sveta And shadows.

Chiaroscuro Just like perspective, artists have been using it for a very long time. Using this means, they learned to convey in drawing and painting the shape, volume, and texture of objects so convincingly that they seemed to come to life in the works. Light helps convey the environment as well.

Artists E. de Witte ( "Interior view of the church"), A. Make-up show ( "Evening over the Thames"), Latour ( "St. Joseph the carpenter"), E. Degas ( "Ballet Rehearsal") conveyed light from different lighting sources in their paintings.

Can see daylight(natural) sun and moon and artificial lighting (man-made) from a candle, lamp, spotlight, etc.

There is a special approach to lighting in the theater; it is no coincidence that lighting designers work there. They create amazing lighting effects, an amazing magical world - “ painting" And " graphics» light.

Light We can change artificial sources according to our wishes, and natural lighting changes itself, for example, the sun either shines brightly or hides behind the clouds. When clouds scatter sunlight, the contrast between light and shadow softens, the illumination in the light and in the shadows is evened out. This calm lighting called light-tonal. It makes it possible to convey a greater number of halftones in a drawing.

There are many different states of the sun lighting, which can greatly change the same landscape and even affect your mood. The landscape looks joyful in bright sunshine and sad on a gray day. In the early morning, when the sun is not high above the horizon and its rays glide across the surface of the earth, the contours of objects appear unclear, everything seems to be shrouded in haze. At midday, the contrasts of light and shadow are enhanced, bringing out details clearly. In the rays of the setting sun, nature can look mysterious and romantic, that is, the emotional impression of the landscape largely depends on the lighting.

Chiaroscuro as a means of composition it is used to convey the volume of an object. The degree of relief of the volumetric form is related to the lighting conditions, which is directly related to the expression of the constructive idea of ​​the work. In addition, the degree of illumination of the image has a significant impact on the nature of color and tonal contrasts, on the balance, interrelation of parts and integrity of the composition.

The interpretation of the volume and illumination of objects depends on black and white objects that form all kinds of contrasts shadows, penumbra and reflections, endowed with their own color qualities and properties.

Volumetric forms in nature are perceived as illuminated in one way or another. Gradations Sveta And shadows on their surface is defined by the concepts: glare, light, light separation ( semitone), shadow, reflex.

The following elements are distinguished: chiaroscuro:

• Sveta- surfaces brightly illuminated by a source Sveta;
• glare- a light spot on a brightly lit convex or flat glossy surface, when there is also a specular reflection on it;
• shadows- unlit or dimly lit areas of the object. Shadows on the unlit side of an object are called own, and those thrown by an object onto other surfaces - falling;
• penumbra- a faint shadow that occurs when an object is illuminated by several sources Sveta. It also forms on a surface facing the light source at a slight angle;
• reflex- a faint light spot in the shadow area, formed by rays reflected from nearby objects.

Image of gradations chiaroscuro helps the artist to identify the volume of depicted bodies on the plane of a sheet of paper, cardboard, or canvas.

Shadows are divided into their own ( on the surface of an object) and falling ( thrown by an object onto a plane or other objects). However, the image chiaroscuro must be distinguished from tonal ( including black and white ) image relationships that are subject not to optical, but to compositional laws, i.e., lightness relationships that the artist consciously builds on a plane, in volume or space. The artist does not depict, but skillfully composes light And shadow. Therefore we can say that chiaroscuro in nature is the optical basis of shape formation in art.

The perception of color also largely depends on lighting. If with the help of linear perspective we convey space in a drawing, then in painting we cannot do without taking into account changes in the color and tonal relationships of nature as they move away from the viewer or the light source. Dark objects at a distance take on cold shades, usually bluish, and light objects take on warm shades.

The great Rembrandt mastered the art of using light in painting like no other. He lit a light with his brush, warming anyone on whom it falls. Rembrandt's paintings are always illuminated by an inner light. The simple, kind people depicted on them seem to radiate it themselves. The greatness of an artist lies in his humanity. The light in his canvases helps to touch the human soul.

In his paintings, the light, illuminating the faces of those portrayed from the darkness, has some kind of witchcraft power.

The nature of illumination also depends on the height of the sun above the horizon. If it is high above the head, almost at the zenith, then objects cast short shadows. Shape and texture are poorly revealed.

When the sun decreases, the shadows from objects increase, the texture appears better, and the relief of the form is emphasized.

Knowledge of these construction patterns light and shadow can help you in solving creative problems in depicting a landscape or a thematic composition.

It is important to take into account the position of the light source in creative work. Look at the images and pay attention to the expressive possibilities of front, side and back openwork lighting.

this is when the light source illuminates the object directly because it is in front of it. This lighting reveals little detail.

(left or right) well reveals the shape, volume, texture of objects.

occurs when the light source is behind the object. This is a very effective and expressive lighting, especially when the painting depicts trees, water or snow. However, objects in these conditions look silhouetted and lose their volume.

In the picture there may be one or more sourceslighting. For example, on the canvas " Fruits and candle“The artist I. Khrutsky skillfully conveyed the light from the window and from the lit candle, which is located behind the objects.

Shadows from objects lit by a candle, fall in different directions, directed from the candle, and the length of the shadows is determined by the rays coming from the candle fire.

Drawing falling shadow depends on the shape of the object and the inclination of the surface on which it rests. Its direction depends on the location of the light source. It is easy to guess that if the light falls from the left, then the shadow will be to the right of the subject. Near him the shadow is darker, and further away it weakens.

If you have to draw near a window or near a lamp, please note that the illumination of objects near will be much stronger than in the distance. As the light fades, the contrast between light and shadow softens. Remember this when drawing near and distant objects in a still life. This phenomenon is called light perspective.

Contrasting lighting, which is based on a clear distinction between light and shadow, is called black and white.

Sokolnikova N.M., Fine arts. Drawing Basics

§7 Light and shadow

The volumetric shape of objects is conveyed in the drawing not only by surfaces constructed taking into account perspective cuts, but also with the help of chiaroscuro.

Light and shadow (chiaroscuro) are a very important means of depicting objects of reality, their volume and position in space.

Chiaroscuro, as well as perspective, has been used by artists for a very long time. Using this means, they learned to convey in drawing and painting the shape, volume, and texture of objects so convincingly that they seemed to come to life in the works. Light also helps convey the environment.

Artists to this day use the rules for the transmission of chiaroscuro discovered in the Middle Ages, but are working to improve and develop them.

Artists E. de Witte (“Interior of the Church”), A. Grimshaw (“Evening over the Thames”), Latour (“St. Joseph the Carpenter”), E. Degas (“Ballet Rehearsal”) conveyed the light from different lighting sources, pay attention to this (ill. 149-152).

You can see natural lighting (natural) from the sun and moon and artificial lighting (man-made) from a candle, lamp, spotlight, etc.

149. E. DE WITTE. Interior view of the church. Fragment

There is a special approach to lighting in the theater; it is no coincidence that lighting designers work there. They create amazing lighting effects, an amazing magical world - “painting” and “graphics” with light.

150. A. GRIMSHAW. Evening over the Thames

151. LATOUR. St. Joseph the Carpenter

152. E. DEGAS. Ballet rehearsal. Fragment

153. K. MONET. Rouen Cathedral at different times of the day

Monet's cathedrals are not specific architectural structures, but images of what happens at a certain moment in the morning, afternoon and evening.

We can change the light of artificial sources at our request, but natural lighting changes itself, for example, the sun either shines brightly or hides behind the clouds. When clouds scatter sunlight, the contrast between light and shadow softens, and the illumination in the light and shadows is evened out. Such calm lighting is called light-tonal lighting. It makes it possible to convey a greater number of halftones in a drawing.

There are many different states of sunlight that can greatly change the same landscape and even affect your mood. The landscape looks joyful in bright sunshine and sad on a gray day. Early in the morning, when the sun is not high above the horizon and its rays glide across the surface of the earth, the contours of objects appear unclear, everything seems to be shrouded in haze. At midday, the contrasts of light and shadow are enhanced, bringing out details clearly. In the rays of the setting sun, nature can look mysterious and romantic, that is, the emotional impression of the landscape largely depends on the lighting.

154. Landscape under different conditions of sunlight

155. REMBRANDT. Portrait of an old lady

The perception of color also depends largely on lighting. If with the help of linear perspective we convey space in a drawing, then in painting we cannot do without taking into account changes in the color and tonal relationships of nature as they move away from the viewer or the light source. Dark objects at a distance acquire cold shades, usually bluish, and light objects acquire warm shades. You can read about this in the 2nd part of the textbook “Fundamentals of Painting”.

The great Rembrandt mastered the art of using light in painting like no other. He lit a light with his brush, warming anyone on whom it falls. Rembrandt's paintings are always illuminated by an inner light. The simple, kind people depicted on them seem to radiate it themselves. The greatness of an artist lies in his humanity. The light in his canvases helps to touch the human soul.

In his paintings, the light, illuminating the faces of those portrayed from the darkness, has some kind of witchcraft power.

The nature of illumination also depends on the height of the sun above the horizon. If it is high above your head, almost at the zenith, then objects cast short shadows. Form and texture are poorly revealed.

When the sun decreases, the shadows from objects increase, the texture appears better, and the relief of the form is emphasized.

156. Scheme for constructing shadows from the sun

Knowing these patterns of light and shadow construction can help you when solving creative problems in depicting a landscape or thematic composition.

157. Front lighting

158. Side lighting

159. Backlighting

It is important to take into account the position of the light source in creative work. Look at the images on the illus. 157-159 and pay attention to the expressive possibilities of frontal, side and backlighting.

Front lighting is when a light source illuminates an object directly because it is in front of it. This lighting reveals little detail.

Side lighting (from the left or right) clearly reveals the shape, volume, and texture of objects.

Backlighting occurs when the light source is behind the subject. This is very effective and expressive lighting, especially when the picture depicts trees, water or snow (ill. 160, 161). However, objects in these conditions look silhouetted and lose their volume.

160. Trees in backlighting

161. Student's work

162. I. KHRUTSKY. Fruits and candle

163. Scheme for constructing candle shadows

A painting may have one or more light sources. For example, on the canvas “Fruits and a Candle” (ill. 162), the artist I. Khrutsky skillfully conveyed the light from the window and from a lit candle, which is located behind the objects.

Shadows from objects illuminated by a candle fall in different directions, directed from the candle, and the length of the shadows is determined by the rays coming from the fire of the candle (ill. 163).

The pattern of a falling shadow depends on the shape of the object and the inclination of the surface on which it lies. Its direction depends on the location of the light source. It is easy to guess that if the light falls from the left, then the shadow will be to the right of the subject. Near him the shadow is darker, and further away it weakens.

If you have to draw near a window or near a lamp, please note that the illumination of objects near will be much stronger than in the distance. As the light fades, the contrast between light and shadow softens. Remember this when drawing near and distant objects in a still life. This phenomenon is called light perspective.

Contrasting lighting, which is based on a clear distinction between light and shadow, is called chiaroscuro.

Chiaroscuro on a jug. Basic Concepts

The illumination of objects depends on the angle at which the rays of light fall on the object. If they illuminate the surface at a right angle, then the brightest place on the object is formed, which we conventionally call light. Where the rays only glide, penumbra is formed. In those places where light does not penetrate there is shadow. On shiny surfaces, the light source is reflected and the brightest place is formed - glare. And in the shadows you can see the reflection from the illuminated planes located nearby - a reflex.

The shadow on the object itself is called its own, and the shadow it casts is called the falling shadow.

Let's look at the image of the jug and look at how chiaroscuro is located on it.

The light source in this case is on the left. The jug is painted in one color. The shadow is darkest, the reflex is a little lighter, the midtone and especially the light are even lighter. The brightest place is the highlight.

164. Jug Chiaroscuro is easy to convey in a tone drawing, but impossible in a linear one.

165. Drawing of a jug: a – linear, b – tonal Revealing the volume of objects using lighting

Light of the world At one time, the idea of ​​Toledo was formed by its image on the canvases of the great Spanish painter Domenico Theotocopouli Greca, known to the world under the pseudonym El Greco. The old capital served as the backdrop for many of his paintings; the fantastic ones are especially good