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The Power of Edges_1

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Transcript

All right, so let's get into the four kinds of edges and get really crystal clear about them. Alright, so here's what they look like. On the left, we have crisp hard edges. Then we have soft edges, firm, and then last edges. And I'm going to do some examples for yet. And then each example the lights coming from camera left, three quarter down, let's say, okay, so I'll do a couple examples of these and then we'll show talk about where we can use these.

Okay, so I'm going to give this just to kind of a local value here. And the side most facing away from the light is going to be the darkest. Right and then the top is going to be the lightest which is take some off here. And notice when we use the different value different plane principle, you automatically get a 3d looking form, right? different value different planes top side, back, different plane, different value makes it look 3d. Okay, so the main thing here is that crisp edge right there that says that the object is going very quickly away from the light.

Right? It's making a quick change just like that going quickly away from the light. That's why you get that inside edge that tells the story. All right, so where can we find these edges? Usually, okay, the light is going to be the kind of light that's single source. It's gonna give you those good cutout shadows, like on a sunny day.

Okay, you can use it for your cast shadows. You can use it for contours. It's going to be inorganic objects. Right? They're mostly a geometric. Let's put that down here geometric kind of manmade stuff, right?

You won't see anything quite this hard on the human face unless it's a cast shadow. But the idea of that structure is there and we want to use that to our advantage. Okay, let's move on to the soft edges. Again, give it a local value. And then work the value changes, work the edge, it can have that core shadow and into the shadow side, you'll have little reflected light from the ground plane. And then we'll just come back and give it a highlight on that top plane where the lights hitting it facing a light and then it moves away from the light.

So it's in this scenario, the objects moving slowly away from the light and so you get a soft edge Where can we find those? Where can we use them? Well, they're going to be in round egg like forms k like a cheek fatty or fleshy areas or parts. The light will be usually diffuse light like on a cloudy day or foggy day. The lights bouncing all over the place and there's no clear shadows. Okay, so again cheeks, egg like forms Use the soft edge, it's going slowly away from the light.

Okay, let's do the firm. Now this is a beveled edge, and it's not crisp and hard and it's not soft, it's in between a little bit tighter. Right, that core shadow is tighter. It's not so spread out. Maybe something like that. Right so it's a lot tighter.

And it comes the form goes more quickly away from the light and not as quickly as say, in the crisp hard, kind of chiseled hard forms of a cube, but still faster than the soft. Okay, so that is how that's gonna look. Where can we use these? That's gonna be your core core shadow also so the firm and the soft will be good for core shadows can use them both bone and hard muscle, tendon usually it's on male male models, little more than female in general, but it's on all muscular models. So that's both male and female. If they're muscular, you're gonna see this kind of firm, core shadow Alright, let's do the last Local value and then it's gonna go really slowly away from the light this one the most slow the least defined boundaries between light and dark.

So much so the boundaries are so diffuse the two, you can't tell where the light starts and end or the dark starts and ends. So it's like a cloud, right? So let's say we can use these supersoft you can use these in the half tones or the half light in The light side soft fabric. You can probably find it in hair too. The light will be diffuse. It's not going to be sunny and single source.

Use it in shadow areas too. Because what makes the shadow look like a shadow is that there's not a lot of detail and you can't make out the edges. So the shadow areas, the recessed areas are not a lot of light is getting into it. And so when things don't receive light we can't make out what it is. Remember because The way we see things is based on contrast the variety of contrast of value. And in the shadows, there ain't no contrast really, to speak of, okay.

So there we go. Those are the edges. Now let's look at the edges on the human face and see where we can use these edges. Spot these edges and then start using them in our drawings. Okay, see you in the next lesson.

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