KUET (BECM-1254) Shadow in Perspective Drawing

KUET >> Department of BECM I Course Code: BECM 1254 Course Name: Architectural Graphics
[Graphical Art Technique]
Shadow in Perspective Drawing
A Light Source and Shadows

A light projected onto an object or figure creates lights, darks, and cast shadows. Your source of light may be the sun, the
moon, a light through a window or an artificial light. When several light sources are present the light and dark tones vary and
are less predictable. To simplify the study of light and shadow in this first section, I will use only one light source.
Two Kinds of Shadows

There are two kinds of shadows that occur
when one light shines on an object, a cast
shadow and a form shadow.
Cast Shadow
When an object blocks a light source it casts
a shadow. A cast shadow is not a solid shape
but varies in tone and value. The farther a
cast shadow is from the object which casts it
the lighter and softer and less defined
becomes its edges.
Form Shadow
A form shadow is the less defined dark side on an object not facing the light source. A form shadow has softer less
defined edges than a cast shadow. Form shadows are subtle shadows essential for creating the illusion of volume, mass
and depth. The changes in form shadows require careful observation – Quintin at the subject to see value definition
affected by figure-ground making value relationships clearer.
A Light Side and a Dark Side on

Round or Circular Surfaces
When one light source is present, I was taught the
dark side is “always” darker than the light side of
Chapter: Shade and Shadow
the object and the light side is “always” lighter than

the dark side. Establishing a definite light side and
Architectural Graphics
dark side makes round objects appear round and

defines the form of an object accurately. Use this
simple trick to make your artwork more true to life,
superlight tones avoiding figure-ground confusion.
© Copyright: Information contained in this Lecture is the copyright of Mohammad Abdul Awal (B.Arch., MBA, Autodesk USA Certified) Adjunct Faculty, KUET,
Copying or Using this lecture info in whole or partial part without written permission infringes copyright. [ Contact : +88-01919-946-947 ]
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The Light Side in Two Parts

Highlight:
The lightest spot or streak is where the light
strikes the subject in exactly the middle of the
light side between the shadow edge and the
edge of the object. A highlight can be shinny
and crisp on a glass or metallic surface, or
fuzzy and muted on a dull or textured surface.
Light Middle Tones:
Note, to avoid confusion, “always” keep the
values on the light side lighter than the values
on the dark side. In reverse, the values on the
dark side are darker than the values on the
light side. It’s the middle tones on either side
that confuse the artist’s eye in value relationships.
The Dark Side in Three Parts

Form Shadow in Three Parts:
“Shadow Edge” or “Core Shadow”
The edge where the light is blocked from the
light source is the darkest value on the dark
side. The core or darkest value blends into
the middle tones from the shadow edge on
round subjects.
Dark Middle Tone
The variable values blended form the
shadow edge on the dark side. Again, the
dark middle tones are darker than any values
on the light side. The human eye can trick the
brain into believing the lightest values on the
dark side are the same as the darkest values
on the light side. If the artist is confused about lights and darks, the rendering is less understandable.
Reflected light
If the object being painted is sitting on a white table, the light from the table reflects back onto the object and makes the
shadow side lighter. If the object of the painting is resting by something black or dark, the middle values will become a
dark reflection. The concept also holds true when the object of the painting is sitting on a colored surface. If the reflected
light is re-object.
Cast Shadows
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When the source of light is blocked by an object it casts a shadow. The length and shape of the cast shadow depends
on the placement of the light source. Long shadows are cast from a side light source (as from the sun in late afternoon
or early evening), and short cast shadows are cast from overhead (as from a noonday sun). The shape a shadow casts
depends on the shape of the object casting it and how closures is to the object.
Cast Shadows in Three Parts
The vocabulary used to describe cast shadows in art come from shadow descriptions in astronomy. Umbra, Penumbra
and Antumbrambra are the three distinct names given to the description of shadows cast by heavenly bodies.
Umbra is the darkest part of a shadow considered the absence of light. Penumbra is a lighter outer shadow where the
object is only partially obscuring the light. Antumbrambra is more obscure. When it is visible it seems to extend out
from the penumbra in a lighter and less distinct way.
Light Source, Cast Shadows and the Axis

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Cast Shadows Pattern:
1. The Sphere:
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2. The Cube:
3. The Cylinder and Cone:

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More on Cast Shadows:
Too many complex cast shadows can be confusing. Such objects can be rendered by blurring the edges.
Daylight and Cast Shadows
Cast shadows of irregular shapes and in natural sun light are open for interpretation because of the constant changing
sunlight: As you work on location, the sun will continue to advance and change what you are drawing. Note the place
you would have the sun be positioned, and keep that constant to avoid a confusing spread of shadows. The nature of
shadow is affected by weather, sunlight, moonlight, or artificial light.
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Different Between Shadows and Reflections:
Shadows are determined by the source of light, the shape of the object, and the surface on which they are cast.
Reflections are simply an extension of the object image onto another plane or set of planes within the perspective view.
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Effect of Light Source in Shadow

The position of the light source is the critical factor in determining the final shape of the shadow cast in perspective, as
summarized below and explained further on the following pages.
Light Source Parallel to the Picture Plane

When the light source is parallel to the picture plane, parallel rays will remain parallel and define the cast shadows
according to how they are blocked by the object.
The length and shape of cast shadows are determined by the intersection of the ground plane, with light rays crossing
the corners and edges of the object.
Here, the ground plane lines are parallel to the picture plane.
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Shade and Shadow:
Shadow is the darkness that results because an object blocks light from
hitting another object. This is different than shade.
Shade is the dark part of an object that doesn't receive light. The front of a
pitcher, for example, reflects light toward the viewer and the back side is in
shade. The pitcher casts a shadow on the ground and wall.
Light travels in a straight line.
If you explode a balloon full of paint where the light source is, the area
blocked by the object from getting sprayed by paint is where shadow will be.
This makes it easier to figure out what this shadow area is. Just draw straight
lines from the light source to the outside edges of the object. Continue that
line until it hits the other object.
You need to use the object's same perspective points for the shadow. The
cast edge of the object does not change vanishing points. A ball's shadow
will cast as an oval, and it will go to the same vanishing points.
But there is something else you need to consider: the light source's vanishing point. This tells you how far back the
object's shadow gets cast.
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Here’s a quick summary of the shadow drawing process:
Step 1: Draw your objects

Step 2: Determined the location of the light source
Step 3: Locate the shadow vanishing point.
(The shadow vanishing points will be vertically aligned with the light source)
Step 4: Draw a line from the light source through each of the top outer corner of your object.
(Be sure to extend the line pass the corners)
Step 5: Draw a line from the shadow vanishing point to each of the respective bottom outer corner of the object.
(Be sure to extend the line pass the corners)
Step 6: The points where the top and bottom line intersect will be a corner of your shadow.
Connect the points together to form the shadow shape and shade it in.
And that’s how you draw a shadow in perspective for a simple object.
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Basic Ideas and Techniques-1:

Free-Hand Drawing With Parallel Shadow
One way to simplify adding shadows to your perspective

drawing is to use the parallel shadow method. Instead of
having a designated light source, the shadow is created with
parallel lines and 45 degree angles. Here is a finish image
of a table using this method for adding shadows.
The image below shows the preliminary steps that were taken to create the shadow area:
1. The ground shadow lines are drawn from the front corner leg parallel to the horizon line.
2. Repeat this with the middle and back corner leg.
3. Start the angle of the light, which is represented with a dashed line, from each of the three top corners. Use a
45 degree triangle to draw these lines.
4. Draw lines connecting the intersections of the ground lines and light angles.
5. Add a variety of value to the image. The shadow is a darker value than the shade on the object.
Remember:
It is important to use different line types when showing each area that has shade and shadow. This will help the viewer
distinguish each of these areas.
Here are the three line types that were used for the values in the table image. The top value is the table shade, the
middle value is the floor shadow and the last value is the wall shadow.
Next, we start how to draw mechanical shadow in perspective drawing with ‘Step-by-Step’ method:
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Basic Ideas and Techniques-2:

Mechanical Drawing with Parallel Shadow
1. Shadow Vanishing Points:

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2. Raised Object:
Cut out a lower part of the object. You have a floating object. The only difference in the shadow is now you have light
shining through the part that got cut out. Draw light lines to this new lower edge and find where they intersect your
existing shadow lines.
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3. Complex Shadows:
As you figure out the dimensions of the shadow edges, the important thing to know is if the edge vanishes toward the
object vanishing point or toward the light vanishing point. Just remember that if the shadow edge is being cast away
from the object, you use the light vanishing point. If it is following the object, you use the object vanishing point.
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4. Tilted Object:
What if the second object is not aligned with the first object? First figure out how tilting an object changes the perspective
points. The shadow edges that vanish toward the first object's vanishing points change. Their new vanishing point moves
some amount toward the new object 2 vanishing point, depending on how much the object is tipped. All other shadow
edges use the same vanishing points.
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5. Twisted Object:
Twisting an object is similar:

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6. Drawing the Shadows with Reflections:
Color:
Every light has a color to it. The sun is oranges-yellow. In places where the light doesn't hit the object, the color of the
object looks different. It will have a Complementary Tint of color in its shadow. This is why buildings in the sun have a
purplish shadow.
Gradient Edge:
The softness of a shadow's edge depends on three things.
 The type of light source. An ambient light produces soft edges and a hard spot light makes crisp edges.
 The distance of the cast shadow from object 1. A shadow cast over a long distance will diffuse light at the ends.
Shadows will be crisper at parts close to the object.
 The object. The texture and quality of both objects determine how crisp the shadow gets.
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Examples:
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KUET (BECM-1254) Shadow in Perspective Drawing

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KUET >> Department of BECM I Course Code: BECM 1254 Course Name: Architectural Graphics

[Graphical Art Technique]

Shadow in Perspective Drawing

A Light Source and Shadows

Two Kinds of Shadows

A Light Side and a Dark Side on

the object and the light side is “always” lighter than

dark side makes round objects appear round and

The Light Side in Two Parts

The Dark Side in Three Parts

Cast Shadows in Three Parts

Light Source, Cast Shadows and the Axis

Cast Shadows Pattern:

3. The Cylinder and Cone:

More on Cast Shadows:

Daylight and Cast Shadows

Different Between Shadows and Reflections:

Effect of Light Source in Shadow

Light Source Parallel to the Picture Plane

Shade and Shadow:

Here’s a quick summary of the shadow drawing process:

Step 1: Draw your objects

Basic Ideas and Techniques-1:

One way to simplify adding shadows to your perspective

2. Repeat this with the middle and back corner leg.

Basic Ideas and Techniques-2:

1. Shadow Vanishing Points:

Twisting an object is similar:

6. Drawing the Shadows with Reflections:

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