We have already posted an article about shading cartoons and comics…so you can consider this part 2 of the cartoon shading tutorials. This article will discuss sketching simple objects and people in different positions in relation to a light source and how it affects the shadows and shading of that subject. To go to the first shading cartooning tutorials, visit this link.
Here are More Comics / Comic Strips Drawing Tutorials
Here are More Comics / Comic Strips Drawing Tutorials
Shadows are caused by the obstruction of some subject in the path of light, and its form depends upon the shape of the object causing it, the angle at which the light is coming and the surface upon which the shadow falls. Shadows can also vary in tone, according to intensity of the light and tone of its background.
Comic-pictures seldom need elaborate shadow work, but, when thoughtfully drawn, a shadow helps to bring out the form of figures and objects effectively and gives strength and colorful tone to a picture.
Shading and shadows differ in that where a shadow is the result of some obstruction in the path of light, shading in a drawing represents the tones on an object that vary from dark to light according to the way the light strikes it. A round object is shaded in the manner shown above on the egg and ball. 41
the shading towards the edge is lighter, and how this makes the shadow on the ground stand out effectively.
The principal shadows on a face are generally cast by the eyebrows and the nose, and can be compared to a peg inserted in an egg-form with a grove cut above it. The under side of the jaws, below the lower lip, and under the ear-lobes are other shadow areas, depending on the direction of light. The more finished heads shown, are examples of these rules, and arrows indicate the direction from which the light is coming. Indicating detail in a shadow brings out the effect of reflected light as pictured in the head of the old lady with the bonnet.
The diagram pictures of the cylinder illustrate how the shadow from such an object will fall according to the direction from which the light comes and how you view the object. Note especially the form of the shadow on the cylinder with the “collar” and also how a shadow assumes its form on a nearby wall or steps.
The same principle can be applied to placing shadows on and from a full-length figure as shown in the three examples below the cylinders. Besides the shadow on the ground, the outstanding ones on a man’s figure are generally cast by the hat rim, coat lapels, arms, bottom of coat and bottom of the trousers.
In the first picture of the waiter, the light comes at an angle from above casting shadows of his arms, tray and apron that bring out the contour of the figure. The next example shows the light coming from one side, setting the figure’s opposite side entirely in shadow. If the light were almost behind the man, he would be practically in complete shadow, and any detail would be indicated in dark tones with highlights on the edge nearest the light.
A shadow can be drawn in light or dark tone according to the tone of the ground on which it falls. Thus, in the case of the man shown with a light top-coat and a dark-toned suit, the shadows on the coat would be drawn in gray tones while those falling on the dark suit would be indicated in solid black. The same rule is applied where the man wears a dark-toned coat and a light-colored suit.
Sometimes, where a figure is drawn simply, as in the next picture, part of the costume may be a solid black. The shadows shown elsewhere in this picture are drawn simply, with a transparent effect that is usual in bright sunlight.
Two other figures shown, illustrate how shadows will fall on a nearby wall or steps. Note how they “bend” in accordance with the character of the ground on which they fall. The man in mid-air also casts an appropriate shadow underneath him, making him appear up “off the ground.” Observe carefully the various places on these figures where the shadows are shown. It is such details that add interest to a picture and are well worth careful thought and study.
Go to the previous cartoon shading lesson here first shading cartooning lesson or
Here are More Comics / Comic Strips Drawing Tutorials
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Shadows are caused by the obstruction of some subject in the path of light, and its form depends upon the shape of the object causing it, the angle at which the light is coming and the surface upon which the shadow falls. Shadows can also vary in tone, according to intensity of the light and tone of its background.
Comic-pictures seldom need elaborate shadow work, but, when thoughtfully drawn, a shadow helps to bring out the form of figures and objects effectively and gives strength and colorful tone to a picture.
Shading and shadows differ in that where a shadow is the result of some obstruction in the path of light, shading in a drawing represents the tones on an object that vary from dark to light according to the way the light strikes it. A round object is shaded in the manner shown above on the egg and ball. 41
the shading towards the edge is lighter, and how this makes the shadow on the ground stand out effectively.
The principal shadows on a face are generally cast by the eyebrows and the nose, and can be compared to a peg inserted in an egg-form with a grove cut above it. The under side of the jaws, below the lower lip, and under the ear-lobes are other shadow areas, depending on the direction of light. The more finished heads shown, are examples of these rules, and arrows indicate the direction from which the light is coming. Indicating detail in a shadow brings out the effect of reflected light as pictured in the head of the old lady with the bonnet.
The diagram pictures of the cylinder illustrate how the shadow from such an object will fall according to the direction from which the light comes and how you view the object. Note especially the form of the shadow on the cylinder with the “collar” and also how a shadow assumes its form on a nearby wall or steps.
The same principle can be applied to placing shadows on and from a full-length figure as shown in the three examples below the cylinders. Besides the shadow on the ground, the outstanding ones on a man’s figure are generally cast by the hat rim, coat lapels, arms, bottom of coat and bottom of the trousers.
In the first picture of the waiter, the light comes at an angle from above casting shadows of his arms, tray and apron that bring out the contour of the figure. The next example shows the light coming from one side, setting the figure’s opposite side entirely in shadow. If the light were almost behind the man, he would be practically in complete shadow, and any detail would be indicated in dark tones with highlights on the edge nearest the light.
A shadow can be drawn in light or dark tone according to the tone of the ground on which it falls. Thus, in the case of the man shown with a light top-coat and a dark-toned suit, the shadows on the coat would be drawn in gray tones while those falling on the dark suit would be indicated in solid black. The same rule is applied where the man wears a dark-toned coat and a light-colored suit.
Sometimes, where a figure is drawn simply, as in the next picture, part of the costume may be a solid black. The shadows shown elsewhere in this picture are drawn simply, with a transparent effect that is usual in bright sunlight.
Two other figures shown, illustrate how shadows will fall on a nearby wall or steps. Note how they “bend” in accordance with the character of the ground on which they fall. The man in mid-air also casts an appropriate shadow underneath him, making him appear up “off the ground.” Observe carefully the various places on these figures where the shadows are shown. It is such details that add interest to a picture and are well worth careful thought and study.
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