Shadow Masterclass

What makes a shadow? And how exactly do you paint one?

From rounding out an object to setting it within space, painting shadows can bring your artwork to the next level. But before you create them, it’s best to ground yourself by establishing a light source.

Defining the Elements of Shadow

Wherever there is shadow, there has to be light. Defining your light source and which direction it is coming from will directly dictate where your highlights and shadows will be.

Light Source – something that generates light and indicates the direction said light is coming from; a great light source to picture is the sun

Highlight – a light and or bright area on your subject; often found at the high points of the subject where the light would hit first

Shadow – a dark shape or shaded area produced by a subject blocking the light

Reflected Light – the light bouncing off an object, surface, or your subject’s surroundings that illuminates part of your subject*

*When you’re first adding shadows to your work, I wouldn’t worry about introducing areas of reflected light. While they can add an element of realism and intrigue, reflected light can also be complicated to render since it varies greatly depending on the type of light source and your subject’s surroundings. Instead, focus on clearly defining your highlights and shadows.

Types of Shadows

Within the general category of shadows, there are specific types that are often referenced in art:

Form Shadow – the shaded area of the subject itself (where the light isn’t hitting); typically a curved area that falls in shadow as it moves away from the light source

Core Shadow – the darkest part of the form shadow (where the least light hits the subject)

Cast Shadow – the shadow cast by the subject blocking the light; where the light source is in comparison to the subject determines the shape and length of the cast shadow

Shadow Placement

Where your shadows occur depends primarily on your light source. When it comes to form shadows, they often fall on the side of the object that is farthest from the light source. They also tend to congregate beneath overhangs and in any divots or holes in your subject.

Cast shadows also shift depending on your subject’s location relative to the light source. If the light source is directly above your subject, the cast shadow should be directly below it. If it’s to the right or left, your cast shadow corresponds by moving in the opposite direction (for instance, if your light source is on the left, the cast shadow will move toward the right).

Another factor to consider is whether your subject is floating, and if so, how far above the ground (or any other plane) it is. How much space you leave between the subject and its cast shadow will indicate how far above the plane your subject is.

4 Ways to Add Form Shadows

For each of the following techniques, don’t forget to seal the shadow in place with at least one glaze of your central color. Keep in mind that with any of the following techniques, you can create a soft, hard, or broken edge.

1. Complimentary

One of my preferred ways to add shadows is by blocking them in with my subject’s complementary color. Doing so creates a beautiful neutral in the shaded areas as you build up layers of color. If the straight complimentary color feels too saturated, you can always add a bit of brown to tone it down.

2. Analogous

Darkening the value in shaded areas with analogous colors creates rich shadows that echo the established color scheme.

3. Blue

A common shadow color is blue. Especially when your subject is outside, creating a form shadow with a blue hue adds a sense of realism; when outdoors with the sun as the central light source, once the sun is blocked, the only color cast back on the object is the reflected blue of the sky. Using blue as a shadow color is also a great way to introduce a cool cast to your subject.

4. Black (or Black +)

While a common shadow color (and often a beginner’s first choice,) black doesn’t always create the best shadows. While a black wash can quickly darken the value, it can also fall a bit flat. Rather than using a pure black hue, I suggest creating a shade with your main color and black to enrich the color—or even mixing your own near-black color to add richness within your shadows.

Creating Cast Shadows

While form shadows vary greatly depending on your subject, cast shadows typically run cool. Of course, with every general “rule,” there must be an exception: If the ground or surface your subject is on is a warmer color, then the cast shadow should lean slightly warm rather than cool. When I create my cast shadow color, I typically go in one of three directions:

1. A mixture of Ultramarine, Alizarin Crimson, and a little bit of Cadmium Orange or Burnt Sienna; depending on the exact percentages of each color, I can either create a warm or a cool cast shadow to fit my scene. This is often my first choice.
2. A mixture of Ultramarine, Alizarin Crimson, Burnt Sienna, and the subject’s main color; especially with a brightly saturated subject, sometimes the main color can reflect downward and slightly tint the cast shadow.
3. A muted mixture with the subject’s complimentary color mix and a touch of Burnt Sienna. While I don’t use this option as much as the other two, it can help create a harmonious composition, especially if you’ve created your form shadow also using your subject’s complimentary color.

Cast shadows mirror the shape of your subject, albeit in varying degrees of specificity depending on the location of the light source. The closer your subject is to its light source, the larger and more distinct the cast shadow. The further away it is from the light source, the more diffused and distorted the cast shadow becomes.

While you can create cast shadows with soft, hard, or broken edges, my preference often is for softly blended edges. When it fits the scene I’m creating, I will start with a light value of my shadow color and let it hug the edges of my subject. Then I’ll move in with a clean, wet brush to soften the edges. Once that dries, I’ll add a second layer with a darker value closest to the base of my subject, before diffusing the edges of my new darker layer with a clean, wet brush. I’ll continue glazing my cast shadow until I reach my desired value.