Lighting Anatomy applied to form
Summary
TLDREl guion trata sobre conceptos de anatomía de iluminación en el dibujo. Explica cómo se pueden aplicar formas simples de iluminación a imágenes complejas y cómo se puede usar en la composición de arte. Aborda técnicas como el sistema de dos valores, luz reflejada, núcleo de sombra y tono medio. También explica cómo manejar formas giratorias y rodantes, y cómo la iluminación afecta la renderización de diferentes formas. Se enfatiza la importancia de comprender estos conceptos para mejorar la calidad de las representaciones y la captura de la luz en los dibujos.
Takeaways
- 🎨 La anatomía de la iluminación es fundamental para entender cómo aplicar la luz a formas simples y cómo se puede usar en la composición de imágenes complejas.
- 📏 Se recomienda usar papel de grabado o acuarela para obras más grandes debido a su contenido de algodón más alto y su espesor, lo que permite más tiempo para trabajar y ofrece una apariencia más rica para los valores.
- 🖌 El uso de papel de grabado también tiene la ventaja de que no se desgasta fácilmente ni se ensucia mucho debido a su alto contenido de algodón.
- 👤 El concepto de un sistema de dos valores de luz (luz y sombra) ayuda a descomponer la imagen en algo legible y facilita la organización de los valores.
- 🌟 La luz reflejada, también conocida como luz de rebote, es importante para definir el núcleo de la sombra y dar forma a la imagen.
- 🔲 La luz difusa o la luz atmosférica es la que se refleja desde objetos lejanos y puede abrir áreas de sombra, proporcionando detalles en las sombras.
- 🔄 La distinción entre formas que giran (forma cilíndrica) y formas que se giran (forma de cuadro o cubo) es crucial para entender cómo se comporta la luz sobre ellas.
- 📐 La representación precisa de la luz y las sombras es fundamental para dar profundidad y realismo a los dibujos.
- 🖋 La dirección de la renderización debe complementar la forma y la dirección de los objetos en la imagen para lograr una representación coherente.
- 🐼 Combinar diferentes lenguajes de dibujo, como la perspectiva y la construcción pesada, junto con formas suaves, puede crear una variedad de texturas y profundidad en el arte.
- 📚 El dominio de estos conceptos de iluminación y anatomía es esencial para mejorar la calidad de la renderización y la habilidad para capturar la luz en los dibujos.
Q & A
¿Qué conceptos de anatomía de la luz se discuten en el guion del video?
-Se discuten conceptos como el sistema de dos valores de luz, la luz reflejada o rebote, el núcleo de sombra, las modificaciones de valor dentro de esos rangos y cómo las formas se ven afectadas por la luz.
¿Qué es el sistema de dos valores de luz y cómo ayuda en la composición de la imagen?
-El sistema de dos valores de luz es cuando un lado de un objeto está en luz y el otro en sombra. Ayuda a descomponer la imagen en algo legible y facilita la organización de los valores de luz.
¿Qué papel juega la luz reflejada en la creación de sombras?
-La luz reflejada, también conocida como luz de rebote, es la que se produce cuando la luz incide en una superficie y se refleja hacia la sombra. Esto ayuda a definir el núcleo de sombra y da forma al objeto.
¿Cómo afecta el contenido de algodón del papel en el trabajo del artista?
-Un papel con alto contenido de algodón es más resistente y no se ensucia fácilmente, lo que permite más tiempo para trabajar en un dibujo y da un aspecto más rico en cuanto a los valores de luz y sombra.
¿Qué es el núcleo de sombra y por qué es importante?
-El núcleo de sombra es la frontera entre la luz y la luz reflejada. Es importante porque proporciona forma a la imagen y permite rastrear esa forma a través del objeto.
¿Qué es un mediotono y cómo se relaciona con la fuente de luz principal?
-El mediotono es el área que se encuentra al otro lado del núcleo de sombra, debajo de la fuente de luz principal. Se trata de la transición entre la luz principal y la sombra, y puede variar en valor y relación con la luz principal.
¿Qué son los conceptos de giro y rodamiento de formas y cómo se aplican en el dibujo?
-El giro de forma se refiere a cuando una forma tiene un borde agudo y la luz cae de manera abrupta en sombra. El rodamiento de forma se refiere a formas cilíndricas que se desplazan gradualmente de luz a sombra. Estos conceptos ayudan a entender cómo manipular la luz en diferentes formas.
¿Qué es la iluminación de Carvagio y cómo se diferencia de otras técnicas de iluminación?
-La iluminación de Carvagio es una técnica donde se usa muy poca luz reflejada y se enfatiza el contraste entre luz y sombra. Se caracteriza por tener un lado en luz y otro en sombra sin mucha transición.
¿Cómo se relaciona el dibujo de los objetos en el guion con los conceptos de dibujo arquitectónico?
-El dibujo de objetos como el panda en el guion utiliza un lenguaje de dibujo arquitectónico, que incluye una perspectiva fuerte y construcción, lo que se puede ver en dibujos dinámicos, diseño de productos y dibujos arquitectónicos.
¿Qué tipo de papel se recomienda para crear obras de arte más grandes y por qué?
-Se recomienda usar papel de impresión o papel de acuarela para obras más grandes porque tienen un contenido de algodón más alto y son más gruesos, lo que permite más tiempo para trabajar en el dibujo y da un aspecto más rico a los valores.
¿Cómo se puede mejorar la calidad del dibujo al entender la anatomía de la luz y aplicar conceptos de render?
-Al comprender la anatomía de la luz y aplicar conceptos de render, se puede mejorar la calidad del dibujo al capturar la luz de manera más precisa y realizar un render más realista y detallado.
Outlines
🎨 Anatomía de la Iluminación en el Arte
El primer párrafo explica cómo se puede aplicar la iluminación en formas simples para entender cómo se puede usar en imágenes más complejas y cómo contribuir a la composición. Se menciona un dibujo anterior del presentador hecho a escala de tres pies de altura por dos pies de ancho en papel de grafito para grabado, que es más resistente y adecuado para obras más grandes debido a su contenido de algodón y espesor. Se discute la importancia de usar este tipo de papel para evitar borrones y daños en el dibujo. Se introduce el concepto de un sistema de dos valores de luz, que separa la luz y la sombra, facilitando la visualización y organización de los valores en el arte. Se exploran conceptos como la luz reflejada o rebotada, el núcleo de sombra y el tono medio, que son elementos clave para dar forma y textura a las imágenes.
🖌️ Formas y Manejo de la Luz
El segundo párrafo profundiza en cómo la luz afecta a formas geométricas y orgánicas. Se explica la diferencia entre formas que giran (cilindros) y formas que giran sobre sí mismas (cuadros o cubos). Se discute cómo la luz se comporta de manera diferente en cada caso, con ejemplos específicos como el muslo de una figura dibujada y cómo la luz reflejada aparece en las superficies curvas. También se menciona el concepto de iluminación de Caravaggio, que utiliza sombras y luces fuertes para enfatizar formas y detalles. Se sugiere que el entendimiento de estos conceptos ayuda a mejorar la calidad del dibujo y la habilidad para capturar la luz en las obras.
🐼 Combinando Dibujo y Iluminación
El tercer párrafo muestra cómo se pueden combinar diferentes lenguajes de dibujo, como la perspectiva fuerte y la forma suave, para crear una variedad de texturas y efectos de luz. Se utiliza un dibujo de un oso panda como ejemplo de cómo se pueden mezclar técnicas de dibujo arquitectónico y de formas suaves para lograr un resultado dinámico. Se enfatiza la importancia de entender y manejar la luz y las formas para mejorar la calidad del dibujo y la representación de la luz en las obras de arte.
Mindmap
Keywords
💡anatomía de la iluminación
💡dibujo de formas simples
💡composición
💡dos valores
💡luz reflejada o rebote de luz
💡núcleo de sombra
💡meio tono
💡forma giratoria y forma rodante
💡carvagio lighting
💡rendering direccional
Highlights
Introduction to lighting anatomy concepts
Application of lighting to complex images and composition
Use of print making paper for art due to its higher cotton content and thickness
Advantages of print making paper: durability and reduced smudging
Explanation of the two-value system in lighting: light and shadow
Importance of the shadow core in defining form
Concept of reflective light or bounce light
Manipulating lighting to create different value modulations
Importance of shape design in relation to values
Difference between form turning and form rolling
Demonstration of how light interacts with different forms
Explanation of halftone and its relationship to the main light source
Concept of carvagio lighting with minimal reflective light
Importance of understanding form to apply rendering techniques
How plane changes affect value changes in rendering
Strategic use of directional rendering to complement form direction
Combining different drawing languages in a single piece
Practical application of lighting anatomy in upcoming assignments
Emphasis on mastering foundational skills for quality rendering
Transcripts
all right good afternoon what we're
going to be going over today is um some
lighting anatomy concepts so to let you
uh kind of visualize how
lighting simple forms can
apply to
complex images um and then how you can
use it in composition
so this piece um this is something i
drew uh just about
five six years ago um
size wise it's three feet high by two
feet wide
and it's graphite on bfk reeves which is
print making paper
so
once you
really develop your chops and then you
get into making
larger pieces of art
you want to move out of using regular
drawing paper and try and get into using
print making paper or watercolor paper
reason being um the paper has a higher
uh cotton content and the paper is
really really thick
so that's going to allow you um more
time
to work up a drawing and it's going to
give it a richer look for your values
then
one of the cool things about working on
print making paper uh you don't have to
worry about the paper getting uh beat up
and two you don't really have to worry
about it smudging so much
because of the high content of a cotton
in the paper um so let's go ahead and
get started
so what we're looking at here um so this
lady that's on this dirt mound
um you could see that she's broken into
a two-value system which means one side
is in light
and then one side is in shadow all right
now what that's going to do it's going
to easily help you break down the image
into something that's readable so you'll
know if it works or not
and it's going to help you organize your
values because um once you start getting
into uh really manipulating lighting
anatomy
um you're gonna have to worry about uh
reflective light or bounce light shadow
core halftone and all of the smaller
value modulations within those ranges
um
also you're going to have to look at
shape design how do those values uh
um
pertain to specific shapes
so
um let's look at some of these uh
concepts that we got going here so we
talked about the two value system light
and shadow now you can see on the back
side of her leg right here the light is
bouncing it's hitting the surface and
then it's coming back in
to the underside of her leg it's
happening on the outside too light's
hitting here lights also passing through
the front
bouncing off of the surface and kicking
back into
the area the back side of her thigh
right here same thing on the sock so
that's all reflective light is it's also
called bounce light so um
anytime that you see that a shadow area
is opened up all that is is reflective
light
so adding reflective light in is going
to expose this thing called a shadow
core
um so if you look right down her thigh
right here
that darker area what that's going to do
that's going to be the border
between the light and the reflective
light and that shadow core is important
because that's what's going to give your
uh image a little your uh whatever
you're drawing
it's going to give it a little more form
and it's going to allow you to track
that form through the object
all right and then on the opposite side
we have this thing called a half tone
that's on the opposite side of the
shadow core so one side of the shadow
core you're going to have your
reflective light
the other side you're going to have your
main light source
and right below that main light source
you're going to have this concept called
the half tone all right
so within that there's a lot of
different ways you can go about
manipulating it
how soft do you want it
the value of the halftone
the relationship in terms of ratios
the main light source to the halftone
like
is it a 50 50
right here
or you could have more light and then a
smaller uh ratio for the halftone so
there's a there's a good amount of ways
you can go about it and then you'll
start to develop that
um the more you draw and then the more
classes you take
because it can get complicated but
for beginning drawing we're going to
keep it
fairly simple
all right so
also you're going to look at there's a
couple concepts here so there's form
turning and form rolling
so if we look at
her thigh right here this is more like a
cylinder so this means the form is going
to roll
you're going to have these subtle
modulations of value
that are coming across the form
so it's going to be gradually go from
light to dark and then back to light
again
whereas form turning
that's pertaining to something that has
a sharp edge like a box or a cube
something to that uh
to that concept
now with form turning you're going to
have one side that um
immediately drops off into shadows
almost like a cliff
and then one side that's in light
now within that you won't really have a
predominant shadow core but to get that
edge to pop you can put a little bit of
shadow on the edge and then put a
gradation down if you need it
and then that's going to pop the edge so
that's how you would handle
lighting a cube
versus lighting a spear a cylinder
and then even with the spears that we're
getting into so if we look at the little
kid's head
his hair is essentially a spear
you have your main light source on the
top
you're going to have atmospheric um
light or like light that's diffused
bouncing off the ground that's opening
up a little bit of reflective light now
it's super dominant because the
the area that the light is reflecting
off of is so far away from his hair it's
not going to be um as dominant so it's
really more of a subtle approach and
then what that's going to do is it's
going to allow you to put detail in the
shadows because remember there's no
reflective light if there's no light at
all bouncing into the object
this is going to fall directly into
shadow
and that's called carvagio lighting
so if you look up an artist called
carvaja
he doesn't really use a whole lot of
reflective light it's basically you're
going to have one side in light and then
one side in shadow and then that's going
to be it all right
so let's dive into this a little bit
more
all right
so if we get a closer look
um
down at her leg let's look at some of
the concepts in terms of form turning
so even though
that this is a round form and some of
you seen this um when we're looking at
the
previous assignment with the fruits
um
you can
really chip away
at concepts
that are round and then create a little
more form in it
and then what you're going to have here
is every time there's a plane change so
plane change means a change in direction
of the uh of the form
it's going to change in value so every
time there's a plane change there's a
value change and this is going to allow
you to easily
plot out the values and then plot out
how you want to render it
um so going back to the last assignment
also
if you really look close
you can see there's a lot of directional
rendering so that rendering is going
across the forum like that
um and then the reason strategically why
this was done because i needed to
complement the direction of the sock
now after
[Music]
you reach the edge of the sock
so these 80 sport socks had these lines
going down the middle
so now i need to
work on uh within this image i needed to
work on getting the lines to come down
to support the direction of those little
grooves in the socks
so there's a lot of thinking in terms of
that and this is down the road but this
will allow you to see where uh
where all of this is going and then
within your own personal process within
your own personal craft where you want
to take these foundational skills
so let's dive a little deeper
so even down here on the dirt so you can
see where this mud is where these
footprints are
as i was talking about earlier
rolling form versus turning form some of
these ground marks
are turning form
some of the ones on the bottom down here
are rolling for them so you really have
to look and see what the form is doing
and then that will allow you to
make decisions on how you're going to
render it so for this
upcoming week um all you really have to
worry about is rolling form um because
we're going to be drawing spears
the better you're able to
um
understand lighting anatomy and then
apply the rendering concepts it's going
to allow you to do things like this
because all this is is really a cylinder
and on the bottom it's a spear that the
cylinder is attached to that's all you
really have to think about
um let's see let's do
let's do another one
all right
so this right here this has a
combination of both um
so with this panda bear right here um
what i did was i combined three
different drawing languages so
i used um heavy perspective and
construction
so that's form turning
um i also used a little soft form
rolling
all right
um and then i also
showed
all of the i guess underneath the
construction and map to it
so the reason you could do that
it's kind of clever ways of playing with
the drawing language and drawing
technique because this
heavy form turning that's more
architectural drawing language so you're
going to see that and
concepts that are in
dynamic sketching you'll see it in
product design you'll see it in
architectural drawings you'll see it in
automotive drawings um and then you also
see it in figure drawing construction so
if you ever look up uh
george bridgeman byrne hogarth um those
guys use uh heavy architectural language
within drawing
we're going to get into perspective down
the road
so that's where a lot of that's found
but at this level all you really need to
know if you draw a box
one side's going to be in heavy shadow
one side's going to be in light
[Music]
well yeah
so let's keep moving
[Music]
same thing right here so if you look at
his nose
so technically that's more of like a
cylinder
but with that
this is going back to that leg again
it's you're breaking it into different
planes so you can turn it different
plane different value different plane
different value different plane
different value so the light source is
coming from the top and then as
the
the form turns away from the light it
slowly gets darker so this middle plane
right here
is going to be
slightly darker than the top plane this
bottom plane right here is going to be
slightly darker than the middle plane
so those are some of the concepts where
this applies to
now what you have to realize for the
assignment you don't obviously you don't
have to do anything um to this level um
all you have to do is um render the uh
the spears uh using accurate lighting
anatomy um and matching the values as
well
within a figure ground relationship so
um as you go through the modules a lot
of this stuff
if you've taken drawing before will
start to look familiar
really look to master it because that's
what's really going to control
the quality of your rendering and then
how to capture light within your
drawings
so with that being said
that
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