Drawing technique

• CONTENT:
• Definition.
• Main representatives.
• Introduction to the drawing technique.

• CONTENT:
• Definition.
• Main representatives.
• Introduction to the drawing technique.

CHIARO SCURO
Is a drawing technique that consists in the use of strong contrasts between volumes, some illuminated and others shadowed to highlight some elements effectively

CLAROSCURO

CLAROSCURO
CHIARO SCURO
The chiaroscuro technique can be applied in paint ing , drawing and in engraving .
This technique emphasizes the details of any work.

Chiaroscuro is established by the valuation???
of the tones.
The valuation can be established in the paper through monochromy, the areas of volume of the body, starting from light.

Chiaroscuro is established by the valuation of the tones.
The valuation can be established in the paper through monochromy, the areas of volume of the body, starting from light.
Valuation of tones

Chiaroscuro is established by the valuation of the tones.
The valuation can be established in the paper through monochromy, the areas of volume of the body, starting from light.
Valuation of tones

Chiaroscuro is established by the valuation of the tones.
The valuation can be established in the paper through monochromy, the areas of volume of the body, starting from light.
Valuation of tones

The valuation work consists on placing the different ranges of gray so as to model the shapes from its flat representation, creating a three-dimensional effect.

The valuation work consists of placing the different ranges of gray so as to model the shapes from its flat representation, creating a three-dimensional effect.

The valuation work consists of placing the different ranges of gray so as to model the shapes from its flat representation, creating a three-dimensional effect.

The valuation work consists of placing the different ranges of gray so as to model the shapes from its flat representation, creating a three-dimensional effect.

The valuation work consists of placing the different ranges of gray so as to model the shapes from its flat representation, creating a three-dimensional effect.

the lights reflected the area in which the lathe is indicating the proximity and direction of the light source

the lights reflected the area in which the lathe is indicating the proximity and direction of the light source

the lights reflected the area in which the lathe is indicating the proximity and direction of the light source

the lights reflected the area in which the lathe is indicating the proximity and direction of the light source

the lights reflected the area in which the lathe is indicating the proximity and direction of the light source

Leonardo Da Vinci (1452-
1519)

Leonardo Da Vinci (1452-
1519) he realized that copying the shapes of the shadows was essential to create the illusion of the third dimension and capture the features of the model.

Monalisa (1503-1505)
• Leonardo discovers the overall facial structure through the forms shadows of the without details or outlines.

Michelangelo Merisi da
Caravaggio (1571- 1610)

Michelangelo Merisi da
Caravaggio (1571- 1610)
Is considered the first great exponent of
Baroque painting.

to accentuate the realism, he emphasizes his figures and scenes by the effects of light, making them stand out from the dark background, the light does not spread smoothly, but emerges from the side and falls over the figures on the scene, clearly delimiting illuminated shapes in which the colors are vivid and intense and dark areas stands out.

The Incredulity of Saint Thomas 1601-02
Oil on canvas, 107 x 146 cm Sanssouci, Potsdam

In its formation appears the influence of the schools of
Lombardy and
Venice, by the intensity of its color and the concern for the mastery of light, in this first stage are the Flight into
Egypt and
Bacchus.
Bacchus c. 1593
Oil on canvas
67 x 53 cm
Borghese Gallery,
Rome

When you draw you're creating an

The technique to create this illusion is called

Chiaroscuro is the result of the observation of light and shadow about the shape

When the shape is properly illuminated it is divided into two main masses: Light and Dark

Clear illumination area.
This area identifies the part that receives the light rays directly.

Clear illumination area.
This area identifies the part that receives the light rays directly.

Penumbra area.
Also called opaque halftone. This area identifies the area between the clear zone and the dark zone, ranging from clear to dark, through gray variety.

Penumbra area.
Also called opaque halftone. This area identifies the area between the clear zone and the dark zone, ranging from clear to dark, through gray variety.

Dark area.
Also called shadow itself, is the area that receives no ray of light, and stays dark.

Dark area.
Also called shadow itself, is the area that receives no ray of light, and stays dark.

Projected area.
This area identifies the shadow that an object projects on other objects or where the surface is.

Projected area.
This area identifies the shadow that an object projectes on other objects or where the surface is.