He continues with other lighting situations that each get a chapter.
And the last one is sculptural light, which is not a lighting situation that happens in nature but more of an art technique where you shade forms in order to heighten the form rather than to form realistic lighting. He has a category on nothing more than moonlight. Next, he goes into diffused lighting, which is when the light sources are not distinct, such as during an overcast day. Then, he brings up the characteristics of dual light sources (one strong, direct light source and an indirect light source on the other side of the object). The first one follows when an object is hit by a single light source. In the third chapter, he delineates the nature of light and shadow in five types of general situations. He follows that chapter with edge light, which is when you take a silhouette and penetrate its flatness with hints of highlights around the edges of forms. Hogarth begins with the idea of silhouettes and how even in their flat and limited capacity, you can imply spaces and relationships between objects. Most of the drawings are by Hogarth himself. It is over150 pages populated by many black and white illustrations and minimal text.
DYNAMIC LIGHT AND SHADE BURNE HOGARTH SERIES
Dynamic Light and Shade is an essential volume for everyone who draws and paints.Burne Hogarth’s series of art instruction books continues with this volume that centers on shading. Burne Hogarth illustrates every effect of light and shade with brilliant drawings in pencil, charcoal, carbon, pen and ink, and brush and ink, encouraging the reader to experiment with diverse drawing media. Moving on to more complex lighting effects, Hogarth explains spatial light - how light and shade can create a sense of "near and far" environmental light - the effects of weather, time of day, and the changing of seasons textural light - how light reveals the surface qualities of forms that range from rough stone to silk and satin draperies transparent light - the effects passing through transparent materials like glass and water, and translucent substances like moving water or sailcloth fragmentation light - the disrupted light we see in such subjects as fire, rain, and flying snow radiant light - the intense light we see when we look into the light source itself, which may range from the sun to a candle flame and finally the various kinds of expressive light invented by the artist - such as the symbolic and mystic light of religious art, or the paterns of light and shade that convey a mood or a psychological state. In these chapters Hogarth illustrates the effects of these different kinds of light on a variety of subjects and examines both natural and artificial light sources.
Following these instructory chapters, Hogarth devotes a separate chapter to each of the given basic categories of light and shade: single-source light double-source light flat, diffused light moonlight and sculptural light. He then shows how the silhouette is transformed into three dimensions with the addition of minimal light - the highlight. Hogarth begins with the simplist kind of light and shade, showing how a dark silhouette on white paper can communicate form and space. Here is the first book on this essential subject, the product of years of study by one of the world's great teachers of drawing and an artist of international renown, Burne Hogarth. Mastery of light and shade - rendered with accuracy and expressive power - is the key to three-dimensional form in drawing and painting. He then shows how the silhouette is transformed into three dimensions with.
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