Let the Shadows in

You know those photos taken from above where you can’t see the thing itself, just its shadow stretched out across the ground?

Or when the afternoon sun casts these ridiculously long and weird shadows?

Most of the time in a painting, shadow is doing quiet, useful work. It anchors the object to the table, it tells you the light’s direction, job done.

But those long shadows can be their own thing entirely, barely connected to the object that cast them.

This week we’re borrowing that idea and pushing it to hone our skills in values and shadows.

We’re painting objects with a limited palette, and simplified values. Then treat the shadow as a separate decision rather than an afterthought.

The object has to look like the object. The shadow doesn’t.

Pick a couple of objects with interesting shapes, we’re going to cast some shadows. I chose an angular wooden figurine and a miniature plant for more organic shapes.

Shine a strong single light onto the object, a phone torch will do. Or paint it in front of a window when the sun casts long shadows. If you can’t create the right conditions, just invent the shadows!

• Turn the object until it casts a shadow with an interesting shape.

• Use limited colours for your object, and pick a shadow colour that’s not the usual Payne’s Grey (I finally got to use that Moonglow).

• Paint the object first, simplifying it to few values. Unlike last week when we observed 4 zones of light, we’re keeping this more akin to a value study.

• Once the object is dry, paint the shadow with hard edges to make a statement with it. Lighten slightly it as you move away from the object.

• An object has to read correctly, its shadow doesn’t

• A shadow can say as much about the light as the object itself, and create a mood

• Making shadows a statement of their own is a way to loosen up a stiff painting