For your enjoyment, here is a jigsaw puzzle on shadows. Study carefully. Download and share this puzzle with your friends.

 

"The evening advanced. The shadows lengthened. The waters of the lake grew pitchy black. The gliding of the ghostly swans became rare and more rare". ~ Wilkie Collins

Seeing Shadows

Looking for and seeing ‘Cast Shadows’
The best way to learn about cast shadows is to create some still life set-ups of your own.  To do this you will need the following;

• A dark and light board (or cloth) for a backdrop
• A spot light
• A camera 
• Find objects with different shapes; think about a still life painting. You may use fruit, containers, vegetables, flowers, books, candle holders, kitchen items including vegetables and fruit, or wine bottles. Anything you may have around your house to create a 'theme' will work. Look at the image setup below, these items were all found in the kitchen and a quick visit to the crisper in the fridge.

Looking for shadows in a Still Life set up

Collect the items you want to paint, then create a set up with one light source, take a photo and paint from the photo. After you have arranged the objects on a table, or counter, if you wish to, you can put a backdrop behind the objects about 8-12 inches away.  Turn off all of the lights, take the spotlight and hold it at different angles to represent different directional lightsources and different distances from the set-up. An example would be upper right, lower right, frontal, upper left, etc.  Look at the different angles you get on the backdrop and the table.  Pull the light further away and see how the shadows soften.

Below are two floral set ups, each with a different lightsource. One coming from the left and one from the right. Take note of the shadows on the table. Pay close attention to the balance of the compositions and see which appeals to you and for what reasons.

Light Source left & right - Floral Still Life shadows

While doing this experiment notice how the direction of the light source will make some shadows more interesting than others.  Look for the most interesting shadows, this will help you decide or determine the lightsource you want to paint with.  To take a photo of the set-up you may need someone to hold the light while you take the picture.  Turn off the flash on your camera so you will have only one lightsource on your set-up.  Take several photos at different angles with different lightsources and with the light closer to the items and also further away.  This is the best way to study cast shadows because you will learn to SEE instead of just imagining what they should look like.

Seeing ‘Cast Shadows’
	Note the darkest shadow is only under the 'contact' points of the pepper. The contact is the actual point at which the two elements touch. Look at the colors in the shadows, can you identify the color of the peppers in the shadows? This in itself can be an interesting study too.
	Are there three values in the shadows? Yes. Look at the example closely. The values get lighter the farther away from the object that is casting them. They also get darkest nearer to the object and darkest at the contact point between object and the surface.
	Shadows are created when the path of light is blocked. Shadows fall on the surface or another object such as a wall or a tabletop. Shadows also tell us what direction the light source is coming from, as they always fall opposite to the light source. Note the change in value of the shadow. Darkest where it meets the object and lighter on the outside edges. Do you see the edges of the shadow and how diffused they are?
	The example on the left shows us examples of cast and sit down shadows. Note how much darker they are where they make contact with the resting surface.
	Here we see a cast shadow as it falls against the rear wall of a setup. The position of the shadow tells me a lot about the height of the light source. The image on the left tells me the light source was level with the object as the shadow runs parallel to the object. this was a low light source.

Cast Shadows – When does the artist use them?

When there is light, there are cast shadows.  One doesn’t happen without the other. If you create a light source, and are depicting anything in a realistic manner, there will and should be cast shadows within your painting. 
Many ‘decorative paintings’ get away from using cast shadows due to the nature of the word “Decorative”.  The decorative artist can sometimes use ‘artistic license’ to convey to the viewer that the painting is not realistic but whimsical and light hearted. In that context, it may be ok to do so. But if you choose a light source, and realistic objects to create the composition, and you do so without including cast shadows, your painting will look unfinished and far from real. So the ‘rule’ to remember…whenever you choose to create realism of any kind, most especially in floral and still life compositions, always include shadows.

Cast shadows are also used when painting landscape paintings, room settings such as in the small samples below. It is important to use shadows to create a feeling of greater depth.

The shadows in the image at left add balance to the composition. They add a feeling of depth and also create interest to the large space at the foot of the bed. They emphasize the strength of the sunshine outside, creating the mood of the happy and up-beat composition. Can you see how the shadows on the floor lead the viewer into the composition? These shadows also help to keep the warmth of the sunshine in 'check' so the compositions does not appear too 'hot'

The cast shadows from the trees help to fill the vast negative space created by the grass. They also add textural interest to the composition, while building the quiet and peaceful mood. The shape of the tree's shadows as they fall on the horizontal plane, help to add balance to the strong vertical lines of the trees.

Dappled light falling on the grass and walkways creates interesting shadow patterns. This type of cast shadow helps to create the 'mood' of the composition. It alludes to a calm, peaceful and serene setting of long summer days.

"Thus shadow owes its birth to light" ~ John Gay

Properties of Shadows...

Value - Cast shadows are not solid objects. They are created because of the lack of light. They exhibit different values within the shadow depending upon the length of the shadow.  A good rule of thumb when painting shadows is showing three values, with the darkest value closest to the object. 
The value of the shadows will also be determined by the value of the area or surface the object is sitting on.

Transparency – shadows are always transparent, we can see through them to read the color of the object that is receiving them.

Intensity - The intensity of the shadow, as with any darker value of an object, would be less intense.

Consistency of placement - The placement of shadows must be consistent, both in terms of the relationship with the direction of the light source and for color unity.  If the light source is coming from the right then the shadows will be on the left side of the object and vice versa. If there is more than one object in the composition, there will be more than one shadow as well and they must all fall in the same direction opposite to the light source.

Shadows and the Light source
	Try to determine the height of the light source, based on the length of the cast shadows, can you guess the direction of the light source? Shadows always fall opposite to the light source, and also note that each object in the composition has its own shadow. Is the light source in the photo high, medium or low? Is it frontal or from the side?
	In the image above, is the lightsource weak or strong based on the characteristics of the shadows as you read them? In the image on the left, can you describe the light source based on the shadows? Is it strong or weak? Which direction is the light coming from?

What Color would the Cast Shadow be? - We’ve talked about the temperature being cooler, now what color would that cooler temperature be? The color of a shadow is the color of the receiver not the object casting the shadow.  If the receiver is a tabletop, the shadow would be the table color, only a little darker and cooler.  If the receiver is another object, let’s say an apple the shadow would be a darker and cooler color of the apple. In the image above the shadow color is a cooler temperature and a darker value than the object receiving it.

Using Shadows for Interest and Contrast...

Creating shadows in the focal area versus supporting areas of a painting.
 
We know that everything in the focal area has more values, contrast, form, and interest.  Shadows in the supporting areas will have less sharp edges and are softer, show less value changes, etc. As with everything we paint, Nothing Stands Alone, everything is relative to what it is sitting next to, the color, temperature, value and intensity is always judged compared to what it is sitting next to, not what is on your white or gray palette paper. Everything is ‘relative’ to something else…
Within a painting that has a developed center of interest or focal area, the shadows will be crisper, show more value changes, and should be seen before the shadows in the outer supporting areas.

Shadows create visual Interest - look for them everywhere.
	In this photograph the shadows fill the foreground. Note the crisp, dark shadows which emphasize the strength of the lightsource. The lightsource is coming from the rear and on the right side. While this is not the best choice for the lightsource, it shows how strong shadows can become compositional elements as well as the objects within the painting.
	Flowers have shadows too. Look between the petals to see how some petals block the light and cause a shadow to be formed. Its the shadows and the play of light that creates contrasts for added interest on a simple flower petal.
	Shadows can be found everywhere. Even in water we will see them. Look at the area under the little Green Heron. The body of the Heron is blocking the path of light. As a result, a small cast shadow has fallen on the rock below the surface of the water. FREE PATTERN: Visit the Multi Media page under Artistic Concepts for the free pattern, step photos and instructions to paint this little Green Heron.
Neadeen Masters, CDA, Green Heron, 2004
	The soft glow from a fireplace, casts soft shadows on the wall behind the rocking chair. These shadows are used to add subtle interest to an otherwise uninteresting wall.

 

William Shakespeare on Shadows

"The birds chaunt melody on every bush, The snake lies rolled in the cheerful sun, The green leaves quiver with the cooling wind, And make a checkered shadow on the ground; Under their sweet shade, Aaron, let us sit, And whilst the babbling echo mocks the hounds, Replying shrilly to the well-tuned horns, As if a double hunt were heard at once, Let us sit down and mark their yellowing noise; And after conflict such as was supposed The wand'ring prince and Dido once enjoyed, When with a happy storm they were surprised, And curtained with a counsel-keeping cave, We may, each wreathed in the other's arms, Our pastimes done, possess a golden slumber, Whiles hounds and horns and sweet melodious birds Be unto us as is a nurse's song Of lullaby to bring her babe asleep". ~ William Shakespeare

Types of Shadows...

Cast Shadows make compositions interesting and 'real'

Cast shadow - A shadow is created when the path of light is blocked. A solid or opaque object comes into the path of light and stops the light source from traveling through it.  For example, in the image above, the railing blocks the light and a shadow is created on the decking. In the image below you can see that the egg has blocked the path of light between the surface and the light source, the result is a cast shadow. Cast shadows usually take on a distorted shape similar to that of the objects casting them.

'Sit down' or 'contact' shadows prevents objects from floating off the surface

Sit down or contact shadows - are the shadows at the very base of an object. The artist uses these darkest value shadows to keep the object from floating up into the air. Contact or sit down shadows are used to help anchor the object to the surface that they are sitting on. The same principles apply to ‘sit down’ shadows as to ‘cast shadows’.

Body Shadows create the actual 'form' or 'mass' of the object

Body Shadows - All objects have volume and they take up space. In order to create the illusion of this three dimensional form, the artist has to reinterpret the object's form by the placement of shadows and light. The shadows on an object are referred to as body shadows. In the image below, we can see that the object has a light side and a dark side. The darker shadowed side is referred to as the body shadows.

 

Core, Contour or Form Shadow - Laying just inside the body shadows, the artist can find a darker value shadow. This is sometimes referred to as a core, form or contour shadow. The artist learns to see these shadows when they study the effects of light on the three dimensional mass or 'form' of objects. The degree of darkness will vary within the body shadow area of an object.

Contour, form or core shadows are the darkest area of an object and it will follow the contour of the object’s form or mass. For example, if the object is a sphere the contour, core or form shadow will follow a crescent moon shape following or mirroring the mass of the spherical body. This shadow falls nearest the edge of the shadow and is darkest at that point because it is the area of the object that is receiving the least amount of light due to the (mass) of the object. Without these the artist will not be able to create the illusion of the object having actual volume. In the image below, the arrows point to these contour or form shadows. Can you see the way they follow the contour of the jug and the egg?

Contour, form or core shadows are the darkest area of an object and they will follow the contour of the object’s form or mass.

Reflected Light and shadows ...

What is reflected light?
Reflected Light is actually a lighter area within or on the edge of a body shadow on an object. Reflected light is a secondary lightsource, created when it bounces off other objects. The reflected light comes from either surrounding objects or the surface the object is sitting on such as the tabletop.  Look closely at the images of the strawberry, the jug and the peppers below, we can see the lighter reflected light opposite to the light source.

Reflected Light (RL) seen on the underside of a Strawberry

Look for the Reflected Light (RL) as shown by the arrows

Reflected Light
Temperature - Since the reflective light is on the dark side it will be a cooler temperature than that of the object.
	Color - Reflected light can be a grayish blue, but not every time. A favorite color to use for reflected light is Traditions Sapphire Blue which may need to be darkened a touch depending on the value of the object.  Traditions Blue Gray is another popular choice for reflected light, again it may need to be darkened a touch depending on the value of the object. However, it is best to pay close attention to the subtle hue shifts that may take place based on the color of the objects near by, as at times their colors can influence the color of the reflected light.
	Value - Often reflected light can be ten to twenty percent lighter than the mass color of the object it is on. Note: If the reflected light is noticed too quickly it may be because it is too light in value or too intense (bright).  A good way to judge if a value or intensity is ‘too much’ is to squint your eyes.  If you see the reflective light before the shade or highlight values, then you have a problem with either value or intensity of the reflected light.
	Position on the object - The reflected light usually doesn’t go above the half way mark on the object.  For instance if you take a sphere and make a clock out of it, the half way mark would be at 9:00 o’clock. Reflected light does not run up the whole side of the object, the reason for this is because the reflected light is is weaker and not as strong as the main lightsource.

Other depictions of Reflected Light

Besides the reflected light found next to the body shadow of the object or a dark area, other reflected light can occur on and from shiny surfaces such as metal, glass, etc. this is light bounced back from other surrounding objects anywhere on the shiny ‘receiver’ object. Think about Christmas lights on a Christmas tree, and the way the shiny ornaments cause the light to bounce around the tree!

 

Reflected Light pop quizz...

• Can you see the reflected light on the left of the metal beer stein?
• What family (Hue) of color is it?
• Generally speaking and compared to the highlight area would you say the reflective light is cool or warm?
• How does it relate to the value of the highlight area? Is it lighter or darker?
• Where do you think it is coming from?
• Look at its position - why is it placed higher up the container and not limited to the lower regions? why?

Cast Shadows and Floral Compositions
	What to look for... In this image, a bouquet of flowers casts interesting shadows against the wall and the tabletop. The light passes through the glass container and the shadow from the container appears to have a hole in the middle of it. Can you see this? Pay close attention to the value of the shadows at the top of the composition. The carnation flower at the top of the bouquet is closer to the wall, and the value of the shadow reflects this darker value.
	Black and White Images make seeing shadow values easier... In this Black and White image, the values of the shadows are easier to read. Compare the top image to the black and white, as you do so, look at the way they all blur together. There are no harsh lines, and no defining edges or strong contrasts between the shadow and the resting surface. However, take note of the strong and very narrow contact shadow at the bottom of the container where it sits and touches the table's surface.
	As simple as this may seem, a housefly creates a shadow on the surface of a rose petal. In many of the Old Dutch Master Floral compositions, the Old Masters included fly's and insects for their symbolic meanings. The house fly was a symbol of decay, it alluded to the transient beauty of the flowers and made the viewer reflect on the temporal meaning of life.
	Between each Rose petal we can see shadows. These shadows are painted with a warm color. Quinacridone Gold is a clear and transparent pigment in the Traditions Line. This would be the perfect choice for creating these wonderful shadows that allude to space and depth between the petals.