Hold a sheet of white paper so that it faces the light squarely.
Then gradually bend the paper around into a curved cylinder.
Can you see that the paper surface darkens gradually as you curve the paper around, away from the light?
Continue curving the paper all the way around, so that the ends overlap, forming a complete cylinder (tube). Fasten the ends together with paper clips (or tape) so that it holds its shape and stands alone.
Squint at it carefully from the same angle as you did the creased paper noticing the gradual change from light to dark tones as the surface curves into shadow.
You will notice that on this curved surface the change from light to shadow tones is much more gradual than on the sharp angle of the creased paper. (The creased corner of folded paper stops the light abruptly. Light changes suddenly to shadow). But the curving shadow has a softer edge that blends gradually from the light into slow steps of darkening tones.
Study the cast shadow on the table and notice that it again begins at that same point where the darkest shadow of the cylinder begins. (This is the point where the object blocks the light from reaching the table behind the object, creating the shadow cast by the object).
The cast shadow begins from the place on the object where the light begins to turn to dark (shadow).
Draw the cylinder carefully on gray charcoal paper lightly in pencil outline first. Then show the lightest surface in white crayon stroke, then merge the white strokes gradually into the gray tone of the paper.
Draw the shadowed surface in strokes of black crayon, merging the shadow strokes gradually into the gray tone of the paper.
Leave some pure gray of the paper between the light and the shadow. Never mix the white and the black strokes together. (The light never reaches into the shadow). Use no black lines on the lighted surfaces. Use no white lines on the shadowed surfaces.
Draw the cast shadow on the table in darker black strokes.
Study the drawings by Albrecht Durer in this lesson. Can you see that he has used white strokes to draw those surfaces of the fingers that face the light?
Can you see that he has used black strokes to draw those surfaces that turn away from the light?
Can you see that he has left some of the pure gray paper between the white strokes and the black strokes? The light and the shadow are not mixed together.
Once you have completed your project, scan or photograph it and submit it to your teacher.
Review the rubric below to see how you will be graded on your assignment for this lesson.
| Superior 5 points |
Average 3 points |
Poor 1 point |
|
|---|---|---|---|
| Quality | Your final project shows considerable attention to using your crayon or color stick effectively. There are no stray marks or smudges. | Your final project shows an attention to using your crayon or color stick effectively. A few barely noticeable stray marks or smudges. | Your final project was put together sloppily. Smudges, stains, rips, uneven edges, and/or stray marks are evident. |
| Use of Values | Your design uses dark, medium, and light values to creates a feeling variation. Items are colored to show a distinction between objects. | Your use dark, medium, and light values in your design is good and somewhat varied. There is some distinction in the design between items. | Use of dark, medium, and light values is poor and uniform. There is no sense of distinction in the design between items. |
| Use of Light and Shadow | Your design illustrates light, shadow, and depth in a way that shows exceptional effort in completing your project. | Your design illustrates light, shadow, and depth in a way that shows an acceptable effort in completing your project. | Your design illustrates light, shadow, and depth in a way that shows minimal effort in completing your project. |
