[Jason Manley]

http://redqueendesign.com/manley/formexer1.jpg

ok...the pic I posted is a simple way to make form based on the same ideas that michaelangelo and raphael used to make forms. This is a perfect example of the kinds of things you can learn from master paintings.

the easiest way to think of it is if a plane on your form is facing the top...make it lighter...if it is on the side, it will be slightly darker than the top, if it is on the bottom, it will be darker.

this is for overhead lighting on simple forms...just change the formula to the direction of your light.

1 there are 5 values to simple form lighting.
a. mass light
b mass shadow
c halftone transition light
d reflect light/fill light
e core shadow
f high light

this list shows six (if you count) but you will notice in the image that the halftone and the transition light are the same or similar value to the reflective light/fill light.

that makes 5 values

michaelangelo and many of the masters used this formula to create forms out of their head in order to set up studies. It does not matter which direction the light comes from..you just apply this formula (real life is much more subtle but this works)

when creating your forms, start with two simple middle values..one for the light and one for the dark (placement and shape of these value patches depend on light direction and the form that the light is wrapping around)

add your transition and your halftone where the form starts to turn away from the mass light and into the shadow.

the core shadow will always be where the form completely turns from the light(unless there is a fill light to lighten it)

add your reflect light (same value as your halftone.

add your higlight (lightest light closest to light source)

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if you want to invent form then you have to understand what you are drawing. you can make a simple line drawing that describes the form (see bridgemans figure drawing book and burne hogarths figure books). once you have a general sketch you mass in your light and dark shapes over the entire form to get the feel and look of your light (paying attention to the direction of the light)

then you add transition and reflect light and clean up all the shapes and push and pull your forms

soft edges can fall away from the viewer

atmospheric perspective(making values similar to each other) can push forms away from the viewer

sharper contrast can pull toward the viewer

sharper edges can pull toward the viewer

sharper edges, values, and contrast of shape can create focal areas

(these things are not hard and fast rules...and they are only a few of many that work. the rules can be bent and changed according to what you are doing...when you understand how to use value...YOU CAN MAKE ANYTHING!

the important thing about this is to understand what you are drawing...if you get photo reference you can strengthen the forms in the reference by APPLYING these kinds of theories.

if you are doing figure work then this is the main reason you have to know all anatomy...in order to convincingly invent..you must know anatomy in order to understand what you are making and be able to manipulate the forms and structure of the body in space and perspective.

keep up the hard work.

jason

[ceenda]

Top stuff Jason! Many thanks.

[Simon Gustafsson]

Thank you!


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simonworks
[email protected]

[Frost]

Thanks Jason.

Just a few questions or notes... these are simply methods used by painters way back when right? I mean it's been proven to give nice results, but does not necessarily fit reality in which you can have multiple surfaces bouncing light or multiple back lights, etc. I think it's probably faster to work applying these rules, but I think maybe understanding your scene and lighting specifics, understanding specular, diffuse, and other material properties and how light is cast and travels is probably another path worth looking into... at least, that's how I see it cause I like to understand and not just learn rules by heart.

Just my 2 monetarily depreciated Canadian cents.

[Fat Assasin]

Thanks Jason! Just wanted to point out something that happens a lot to beginners when they start applying these principals, they make the reflected light too light. Always remeber, like Jason said, that the reflected light is the same or very similar to the transition tone, it's never as light as any tone on the light side of the form. I found myself doing that a lot at first, so now I compare the reflected lights to the tones in the light mass and if they're even close then I adjust one or the other to make keep them clearly differentiated.

And speaking of Raphael, anyone in the Los Angeles area should get themselves over to the Getty Museum to see his drawings up close and personal, and bring your sketchbook! The drawings are there until January I believe. I haven't gone yet, but will probably be going this weekend.

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[Superbug]

Good stuff, thanks jason. Its always good when people do there part to help the less unforutnet

[Frost]

(Reflected light depends on the surface reflectance. A black with 30 coats of lacker will give a reflect a light source almost intact.)