What is the direction of light in an artwork? Do you pay attention to it when you are drawing and painting? What are shadows in a drawing or painting? Do you know how they relate to the source of light? These are simple things, but pretending they do not exist or forgetting about them makes your drawing and painting flat and unconvincing.
Direction of light
For me personally, light must come from the left or from the left and from behind. That is when values and shadows in my paintings work well, and I intentionally and sometimes subconsciously would choose only such views and subjects. Why? When you know where the shadow falls and how to create it, you can use memory and imagination for that. If you struggle with shadows, most likely they are not cast from the correct side.
Creating art from photo
If you are creating your drawings or paintings from photos, you should know that there is no clear source of light or it comes from the right side very frequently. The direction of light can be also hard to detect on a photo. If your brain does not feel the same way about the source of light as it is on the photo, you will be struggling with every shadow and every detail you include in your composition.
Adjust the subject, not your perception
Generally, light and shadow is an important feature of any drawing and painting. Experienced artists use it automatically and they create set-ups or paint views where the light direction matches their visual perception. If you are just starting out, pay attention to the point where light comes from, its source. Outdoors, it is often the sunlight, but we do not normally paint the sun, we just indicate this area with color.
Sketch and quick watercolor for shadow testing
I usually create a rough drawing to use as a reference.
Watercolor and sketch are the easiest ways to test your perception of light and its representation in an artwork. It is much faster than doing the same in pastel, acrylic or oil, especially if you are a beginner and you have to learn everything: composition, values, contrast, perspective and color mixing, as well as brush stroke. Adding visible areas of different values helps. Most people, who draw and paint frequently, assume it an organically critical and absolutely necessary aspect of painting.
Spring walks in the village, is a large painting, 24 x 18 in or 61 x 46 cm, and so was its sketch, the other is Spring barn, also 24 x 18 in or 61 x 46 cm
Black ink pen for sketching out your subject.
Spring colors, cheerful and lovely, yet simple
In order to check your values, you can turn paing image into black and white.
All of these paintings make use of perspective: linear and atmospheric. Therefore, direction of light becomes very important.
Perspective in art is much easier to implement than perspective in life. In fact, there is nothing much to it as far as we are aware of how it works and what it does for a painting or drawing. Linear perspective creates depth and dimension in any drawing and painting which deals with suitable subject. Traditional linear perspective uses size, overlap of objects and their placement in composition, as well as convergence of lines.
Black pen drawing of simplified 2-point perspective building
Where to use it
If you love landscape, street scenes, rural scenes with farms and barns, simple roads, streams or rivers and so forth, you will need to implement linear and atmospheric perspective because they both contribute to dimension and volume of your painting. You will also use color values accordingly to perspective principles. If you are drawing and painting outdoors, you are most likely applying some perspective already.
Old countryside house in pen and watercolor, 18 x 12 in or 46 x 30.5 cm
Vanishing points and front view
Some people are confused: how many vanishing points to use: 1, 2 or even more? The answer is that will depend on the placement of your shapes and forms on different planes. 1-point perspective uses 1 vanishing point on the horizon or reference line. Horizon line can be called eye-level, but I like to call it reference line. You have to remember that vertical lines are parallel to the sides of your paper (if it’s straight) to make look building stand up correctly. Horizontal line creates 90 degree angle with the vertical line in front view. Horizontal lines of front view are parallel to the bottom and top of your paper. Therefore, in 1-point perspective, the straight lines at the bottom of your building and corresponding lines higher up will always create a 90 degree angle with the vertical line.
1-point perspective in landscape
Most often, we use 1-point perspective with roads, streams, tree and fence lines and buildings on both or one side of a road, that is, with views where something disappears in the distance. That creates an easy perceivable and visually attractive composition which is a breeze to create. In 1-point perspective, all lines which lead into distance, meet in the vanishing point. The front angles of the building on the respective plane are 90 degree angles. It sounds more complicated than it is when you draw it. Start with closest end of the building, drawing a rectangle. Connect the points on one vertical line (in my case the left side where I mark height of any element) to the vanishing point.
Pen and watercolor wash of barn, 16 x 12 in or 41 x 30.5 cm
Plein-air drawing, 2-point perspective. Photo does not show all lines correctly since camera draws the front edge closer. To draw it correctly, vanishing points on reference line are placed outside the drawing. That we do always when the subject is large. I usually draw intuitively since I know where approximately these lines meet and where the vanishing points are. Starting out? Mark up vanishing points on each side and connect with respective points on vertical lines. I teach this all in my private classes because it is simply not easy to describe.
Pen and watercolor 2-point perspective sketch, it was mostly done outdoors, since this building is next to my studio entrance.
Many buildings in a landscape or street scene
When drawing close-ups of buildings or placing many scattered buildings in composition, we use rather 2-point (angular) perspective. We use drawing separate buildings most often 2 vanishing points. We adjust the eye level or reference line placement as needed. It can be higher or lower depending on your view. We can move it up or down, and we should use this feature in our favor. That will allow achieving plenty of depth and dimension.
3 vanishing points in one-point or two-point perspective
When some buildings are close, some distant or scattered all around, you could use 3 vanishing points. It does not mean that your drawing becomes extremely complex. It means that you will have freedom to place things in your composition wherever you want them.
Where to place rooftop?
Often, demo drawings that involve 2-point perspective do not explain that the rooftop line runs through one vanishing point. That was also the most confusing part for students since they had a problem placing the roofline where it belongs. Please enjoy the recent paintings and sketches which involve perspective. I will prepare online materials for understanding better how to create linear perspective in drawing or painting.
Perpendicular and parallel lines
The most important aspect is to understand what lines are perpendicular, what parallel, what is obtuse angle, right angle and acute angle. Remembering basics of geometry is really helpful because perspective in drawing is simply achieved once you know how to create it. I am posting some of my recent works that involve creating perspective to illustrate the concept.
Uphill, watercolor painting of rural house, size of this painting is 21.5 x 16.5 in or 54.5 x 42 cm
Outdoor painting
Many drawings, sketches and watercolor paintings are done outdoors or plein-air. Perspective is an important part of any painting, sketch or drawing which displays buildings, street views, roads, fences, bridges and similar subjects. Learning how to create perspective is not difficult or overwhelming. You really need to master perspective if you ever do a realistic painting or drawing with buildings and man-made structures.
