THE LIGHT PAINTERS LOOK FOR

2. SIDELIGHT TOPLIGHT AND REFLECTED LIGHT We know solid objects will block out light so why are not their shadows black? Every surface that absorbs one color reflects another while white surfaces reflect the whole spectrum. We live surrounded by surfaces. They can be red, blue or yellow, polished, shiny or reflective. The light rays continue to bounce around until like they find the right surface to snap them up - but until they do they are reflected light and provide that illusive secondary source. To demonstrate this we shall take a trip to the stars. Here is a sphere or planet much like the earth. It is half in shade and half lit by a sun. The value of the shadow is constant even though the edge at the equator' appears' darker. That is only because of its proximity to the white hemisphere. Due to stray light rays the shadow is a value lighter than the background. It is the same 'hue'. Now we give the planet a small moon which also reflects a certain amount of light ... Note the effect of the reflected light as well as the 'apparent' deepening of the 'turning point' or equatorial band. If we give the moon a local hue (yellow) we can see the subtle effect on the main sphere. Much the same effect happens with the moon and the earth. The impressionists concentrated on illuminating shadows such as in the haystacks of Monet and the flesh tones of Renoir but Vermeer was the master of side and reflected light creating layer on layer of magic and delicate substance(see lesson on 'girl with the pearl earring'). Note: when you are painting your next portrait, or examining another, try to identify the local color, the reflected color, the shadow color and the turning point. A face is little different from a sphere when struck by light. [ Lesson Index ] [ Previous Lesson ] [ Next Lesson ]