In our previous ‘Threads’ tutorials, we touched upon some basic techniques for emphasizing volume in our subject and maintaining that sense of volume when adding biographical details. For simplicity we concentrated on one object isolated on the page, and this is fine for a portrait style artwork. However as we continue in our desire to equate our artistic vision with our subject’s look and character, the environment it inhabits becomes more and more relevant.

Adding a world for your subject to interact with gives more scope to describe the subject and importantly expands the possibilities to enhance the sense of depth.

Creating that sense for the viewer of being able to step into the world of your artwork brings an emotional link between the viewer and the subject that gives your work more power and presence. That is something worth working towards!

When we think of creating this 3 Dimensional environment I like to use the analogy of a theatrical stage. If we view this stage at an angle (Figure 1) we note that it has depth as well as width and height. With this in mind you can defeat the tyranny of the 2 dimensional surface and reach into the depths of the stage and position your players and props as you wish.

Figure 1

It is this act of positioning the players and props that I want to discuss in this tutorial. Whether you are working from life or using a photo, the awareness of certain techniques, when used with subtlety and discretion, will enhance the volume and depth in your artwork.

We will be working with an expanded ‘cast’, observing the interaction and effect on colour, tone, line, edge and size, as objects are positioned within the stage. For the sake of our illustrations each object is exactly the same size, colour, and texture. They can represent anything, from the subject, to a leaf, tree, branch, distant hill or building. However their placement within the stage environment will dramatically influence the way they appear to us from our viewpoint and the sense of depth within the artwork.

A fundamental rule applies that all things are affected consistently, related to the horizontal plane (position on stage) that they occupy.

Linear Perspective

As we all know there have been many weighty tomes written on the subject of perspective. From the 5th Century B.C. with the art of the Ancient Greeks, artists have been using perspective to create an illusion of depth. For the sake of our brief tutorial I shall mention only the basics that represent a good starting point for further study.

Any ‘stage environment’ has fundamentally two frames of reference. The first is the viewer’s position and the second is an implied horizon line in the background, running horizontally across the picture plane. This horizon line represents objects infinitely far away and will be higher or lower relative to the eye line of the viewer. It can be determined quickly by holding a pencil horizontally in front of your eyes and then straightening your arm to full stretch. The horizon line should correspond to the line of the pencil.

Figure 2

Parallel lines in your subject will be seen to converge on this horizon line to a point known as the Vanishing Point (VP). This is the standard ‘receding railroad track’ phenomenon. For most geometric forms there will be two vanishing points, either side of the object (2 Point Perspective).

Unlike buildings our subjects are organic and lack definite parallel lines. However, all forms can be related to simple geometric shapes. Even our species of ‘Furry Ball’ can be contained within a shape that observes basic rules of perspective (Figure 2).

Simply stated, objects will appear to diminish in size and appear closer together as they move towards the horizon line or background.

Atmospheric Perspective

Atmospheric perspective or as it is sometimes called, aerial perspective refers to the effect the atmosphere has on the appearance of an object as it is viewed from a distance.

If you take a nice drive out to the Yarra Valley, find a high vantage point and look out into the distance you will see a classic example of atmospheric perspective.

The trees you see nearby are exactly the same as those on the hill 20 miles away. They are the same colour, texture and size, yet they appear so different in every way. Imagine then, layer upon layer of atmosphere, like thin veils of colour between you and the subject. As the distance between you and the objects in the landscape increases, more of these layers accumulate, imparting subtle effects upon the characteristics of the object. The contrast between the object and its background decreases, and the contrast of any markings or details within the object also decreases. The colours of the object also become less saturated and shift towards the atmospheric colour, which is usually blue, but under some conditions may be grey, on an overcast day, or red at sunrise or sunset.

Figure 3

The fundamental rules to remember are:

As your object moves into the distance it becomes progressively

• Cooler and less intense in colour
• More blue or grey in colour depending on the quality of the light source.
• Less contrasting.
• Softer edged.

As your object moves toward the foreground it becomes progressively

• Warmer and more intense.
• Less blue or grey depending on the quality of the light source.
• More contrasting.
• Harder edged.

Figure 3 demonstrates this effect on our objects as they move towards the distance.

Extra Stuff

Figure 4 illustrates some extra techniques that may be useful in creating the illusion of infinite depth to your artwork. The use of overlapping objects, most common in still life painting, has been utilized for many centuries in the arts. Overlapping objects on our stage implies the impression of depth and recession and imparts a sense of intrinsic volume to each object.

Figure 4

The use of directional lines, such as a branch, a grouping of objects, or a gesture or look may be used as a device to invite the viewer into the world you have created. These lines should always lead your eye back into the artwork. They will also be governed by the rules of linear and aerial perspective.

A foreground shadow, cast across the front of the stage draws the viewer into the composition, towards the lights on our subject. Look to the Dutch paintings of the 17th Century for classic examples of this technique.

Remember you are the director and you have complete control of the potential of you production. You can position your players and props, control the lighting and story, to create a powerful and compelling experience for the viewer. ‘Break a leg!’

Well, these are all important reasons for doing the artwork, however they are the last thing we should consider when beginning our painting or drawing.

Adding convincing detail relies completely upon maintaining a convincing sense of volume to the form underneath.

You must never sacrifice solidity to detail!

Our goal is to produce a solid form that in this ‘species’ of ball has a pronounced furry texture. It will be in bright sunlight and have lots of textural detail in the fur.

Our initial step, Figure (A) is always to establish the quality of our light source. In its simplest form this is revealed to us as one big light shape and one big dark shape. Squinting your eyes down will help to diffuse the detail you see and help you assign the myriad of little lights and darks into the light family or the dark family.

Figure A

The tonal difference between these two tones will establish the strength of that light source. The stronger the contrast, the brighter the light (e.g. sunny day), the closer the tones the duller the light (e.g. overcast day).

Also in this stage, the surface texture of the ball can be hinted at, by observing the quality of the edges, particularly the shapes formed where light meets shadow. If we take the time to carefully observe these two areas, it will become evident that with just two tones we will have successfully given our ball a suggestion of fur in a specific light.

Adding the half tone darks

In Figure (B) we take our great start and begin to model the form and indicate the initial texture of the fur. We are adding just one half tone dark to the light side and one half tone dark to the shadow side.

Figure B

This is not a tutorial about how to paint fur however some things are worthy of attention at this stage of our painting. They may be applied through out the course of the painting and will assist in emphasizing volume and in defining the details.

•     I have always used a simple sculpting analogy when developing my half tone shapes. Think of the darks as if you were carving into clay to create a depression and the lights as if you are adding clay to build on the form.

•     The directional lines of the shapes in this case, fur, can be used to imply the shape of the form underneath. Notice in the case of our ball that the negative and positive shapes made by the fur are brushed in arching curves around the shape of the ball. If your marks were simply up and down or sideways the sense of volume would not be accentuated. Make your shapes indicate the shape of the form.

•     Use perspective to enhance depth on your ball by varying the size of your shapes and brush marks as they move around the form. Larger for those shapes closer to you and progressively smaller as the form moves away.

•     Overlapping of shapes helps also with the impression depth.

•     As edges of tones move away towards the edge of the form they can be made subtly softer or slightly out of focus.

•     Although not evident in our illustration, colour can be used to enhance that sense of volume. A phenomenon of colour is that warm colours tend to come forward and cool colours, recede. So why not add some subtle, colour temperature shifts as the form turns away.

We can continue to play with these half tone shapes as much as we like until we have a pleasing indication of the fur. The most important thing to remember is not to go too dark, especially in the light side. Maintain the relationship of these half tones to their respective families. If you squint down you can see that all the details we have created remain in the light and in the shadow.

Adding the half tone lights

An enduring lesson I learned was that, the darks give you the likeness; the lights give you the character.

Figure C

Figure (C) shows us building on our solid indication of fur structure, developing steadily towards the highlight with layers of textural half tone lights.

Figure D

Figure (D) shows the development of the shadow side with the addition of the reflected lights. These half tone lights in the shadow are caused by light from surrounding surfaces reflecting into the shadow side and acting as a secondary light source. They are a great way to indicate texture and detail in the shadow side. However they are very subtle lights and must always remain in the shadow family.

Figure E

Figure (E) illustrates some markings that are typical of this ‘species’ of furry ball. It also shows how patterns can be used to emphasize form, by following surface contours.

Most importantly, note that even though the markings are locally the same dark grey, they are lighter or darker visually, depending on the tonal mass in which they sit.

It is a curious thing, the temptation to place too many strong darks in the light side and too many strong lights in the dark side. We do this because we want our details to ‘pop’ and appear real. All we succeed in doing is destroying our sense of volume.

The most important thing to remember is that we must avoid placing tones in the light side that belong in the dark side and visa versa. As a rule of thumb, make darks on the light side lighter than they appear and lights on the dark side darker than they appear.

If you maintain this mantra throughout your painting you will go a long way towards achieving beautifully solid and detailed shapes.

Enjoy your painting!

Taking just one thread, let’s begin by looking at some simple techniques to answer that vexing question…how do I make my subject look solid?

In figure (a) we have a simple 2 dimensional circle. Consider this to be the basic shape of your subject.

Figure (a)

Now lets take it into the 3^rd Dimension.

Light reveals form to us.

The form of your subject is constantly turning and light spreads around the form in a penumbra of light through to shade. It is important to remember that if you desire convincing solidity, all form in your artwork should by lit by the one source.

Figure (b)

In figure (b) we see form revealed in its simplest way. We have one big light shape and one big dark shape. Note how the shadow line follows the shape of the form, which helps to imply the volume of your subject. This is an important stage, as the relationship of these two tones, describes the quality of the light source. The stronger the contrast, the brighter the light (eg sunny day), the closer the tones the duller the light (eg overcast day).

Also, the quality of the edge defines the quality of the form. A soft edge hints at a rounded, smooth form whilst a harder edge suggests an angular, textured form. However ‘edges’ are for another tutorial so I’ll get back on track

Figure (c)

The next stage in creating convincing form is to add the reflected light to the shadow side. Figure (c) shows how reflected light has the effect of turning the form in the shadow.

When light reaches a surface it is reflected into surrounding surfaces, in varying degrees of intensity, depending upon the reflective quality of that surface. It can be seen clearly if you hold a light piece of paper against a shadow area, for example under your chin. Observe this in a mirror and see how all the forms in shadow are lightened along their outer edge and are also influenced by the colour of the reflecting surface. Try a yellow or red piece of paper!

It is important to note however, that as a secondary light source, it is ALWAYS very subtle (1/2 to 1 tone lighter). Never make it too light or it will jump out of the shadow and compete with your main light source, flattening your form instead of turning it!

Figure (d)

Figure (d) represents the steady building of form towards the highlight. The amount of tones leading to the highlight will vary depending upon the surface. As a general rule the rounder and smoother the form the more tonal gradations will be needed. The opposite applies to blocky and rough textured surfaces, where the fewer subtle planes of the form make for less gradation.

This is the fun part, where you bring the sparkle of detail and texture into your artwork. However the temptation is always to put these on to early. Build to the climax of the highlight, with successively lighter tones. A highlight will never have its true impact unless you have built a solid form underneath.

Note also that a highlight follows the direction of the form.

Figure (e)

Figure (e) shows the important stage of placing the shadow. This has the effect of grounding your form and giving it a sense of weight. An important thing to observe about shadows, is that they are darkest at their source and become lighter and softer edged as they move away from the form. With the completion of this step we have transformed our basic flat shape, into a solid form, existing in space. We have not only given it solidity but have described its surface and the quality of the light source.

Extra Threads

Cast Shadows

Figure (f)

A useful technique to emphasize the form of your subject, Figure (f) is to utilize cast shadows. Any object that blocks light on your subject can cast a shadow across it. You can see this phenomenon at work if you look at tree limbs on a sunny day and see the shadows from other limbs falling across each other. Notice how the cast shadow follows the form of the subject, tapering as it moves around the form to the edges. A cast shadow is always subtle, with soft edges, and is like a transparent glaze across the varying tones of the light side of the form.

Tonal Contrast

Figure (g)

By increasing the contrast of one tone against another, Figure (g) you can make edges jump out. You can utilize this technique to push the form of your subject out from the background, by placing slightly darker or lighter background elements behind your subject. This may take the shape of a lighter or darker leaf, rock or other object and can serve to emphasize your subject.

I hope this has been of some help as the first in a number of brief tutorials. There is certainly many more ‘threads’ to explore and expand upon in our quest to create better art. In the next tutorial I’ll discuss adding convincing detail to your form without losing that sense of volume. If you have any questions about what I’ve discussed simply post a comment.