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0INTER EDUCATION & GLOBAL STUDY
Original paper
© A.R. Shukurov1^, © X.F. Omonova2^_
1Buxoro davlat pedagogika instituti, Buxoro, O'zbekiston 2Buxoro davlat pedagogika instituti, Buxoro, O'zbekiston
Annotatsiya
KIRISH: ushbu maqolada talabalarning tasviriy san'atda tasvirlarni tog'ri yasashni o'rganishida perspektivaning o'rni va ahamiyati soyalarni perspektiv qonuniyatlardan foydalanib chizish orqali yoritib berilgan.
MAQSAD: tasvirlar yasashda soyalarni perspektivadan foydalangan holda to'g'ri bajarishni o'rganish yoshlarga atrof-muhitni aniq his qila olish va chizishni nazariy jihatdan o'rgatadi hamda ularning estetik didlarini o'stirish va tasavvurni kengaytirishga, perspektiva va tasviriy san'at fanlarini oson o'zlashtirishga xizmat qiladi.
MATERIALLAR VA METODLAR: tadqiqot olib borilayotgan fanni o'quvchilar qay darajada o'zlashtira olishlari va ularni bu fanni o'zlashtirishdagi qulayliklar va qiyinchiliklarni o'rganish uchun 10 ta ilmiy maqoladan iborat korpus yaratildi. (5 tasi perspektiva faniga oid va qolgan 5 tasi tasvirlar yasash bo'yicha maqolalar). Yig'ilgan maqolalar 2010-2023 yillar oralig'ida xalqaro va milliy akademik jurnallarda chop etilgan. Bu maqolalar tahlil qilindi va qiyosiy tahlil olindi.
MUHOKAMA VA NATIJALAR: perspektiva fanini tasviriy san'at fani bilan integratsiyalashtirilgan holda o'rgatishning afzalliklari bo'yicha tahlil qilingan ilmiy maqolalar tasvirlar yasashda yo'l qo'yiladigan kamchiliklariga qaratilgan maqolalarga qaraganda ko'proq jalb qilish kontingentiga tayanadi. Ikkala o'rganish natijalari bo'yicha mualliflar tasviriy san'at bo'yicha umumiy bilimlarga murojaat qilish orqali o'quvchi bilan muloqot qiladi, ammo tasviriy san'atni an'anaviy ravishda o'qitishga qaraganda perspektiva fani bilan bog'lab o'rgatishga qaratilgan maqolalar o'quvchi e'tiborini faol ravishda yo'naltiradi. Zamonaviy pedagogik texnologiyalarni qo'llagan holda perspektiv qonuniyatlar bilan o'quvchiga tasviriy va amaliy san'at fanlari haqida bilim berish ularda ko'proq tassavvurni kengayishi va bilimni to'laqonli egallashga ko'maklashgan.
XULOSA: tasviriy san'at asarlarining realistik va ishonarli bo'lishi uchun ob'yektlarning soyalarini to'g'ri bajarish uzoq tarixdan hozirgi kungacha rassomlar oldida turadigan asosiy vazifalardan biri. Soyalar bajarishning perspektiv qonuniyatlari bu bizga qog'oz varag'ida, devor, shift tekisligida borliqni, muallif o'z asarida aks ettirmoqchi bo'lgan his-tuyg'ularini va g'oyalarini yanada yorqinroq va realistik yetkazish imkonini beradi. Bugungi kunda multimedia texnologiyalari tobora kengroq qo'llanilmoqda. Ular inson
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faoliyatining deyarli barcha sohalarini qamrab olgan. Ammo ushbu maqolada muhokama qilinganidek, haqqoniy tasvirlar hatto kompyuter ekranida bo'lsa ham, geometriya va perspektiva qonunlariga muvofiq qurilgan, atrofdagi dunyoni to'g'ri ko'rsatish uchun asosdir.
Kalit so'zlar: perspektiva, soya, yarim soya, tushuvchi soya, shaxsiy soya, yoritish, yorug'lik, yoritilganlik darajasi, yorug'lik manbai, quyoshning holatlari, soya chegarasi, blik.
Iqtibos uchun: Shukurov A.R, Omonova X.F. Perspektivada soyalar bajarish. // Inter education & global study. 2024. №5. B.398-411.
ВЫПОЛНЕНИЕ ТЕНЕЙ В ПЕРСПЕКТИВЕ
© А.Р. Шукуров1Н, © Х.Ф.Омонова2Н
1 Бухара государственный педагогический институт, Бухара, Узбекистан
2Бухара государственный педагогический институт, Бухара, Узбекистан_
Аннотация
ВВЕДЕНИЕ: в данной статье рассмотрена роль и значение перспективы при изучении студентами правильного выполнения изображений в изобразительном искусстве, освещено выполнение теней с использованием законов перспективы.
ЦЕЛЬ: изучение правильного выполнения теней с использованием перспективы при создании изображений учит молодежь точно воспринимать окружающую среду и теоретически изучать рисование, а также способствует развитию их эстетического вкуса и расширению воображения, облегчает освоение предметов перспективы и изобразительного искусства.
МАТЕРИАЛЫ И МЕТОДЫ: для изучения, насколько учащиеся могут усвоить изучаемый предмет, и выявления удобств и трудностей при его освоении был создан корпус из 10 научных статей (5 по предмету перспектива и 5 по выполнению изображений). Собранные статьи были опубликованы в международных и национальных академических журналах в период с 2010 по 2023 годы. Эти статьи были проанализированы и проведен сравнительный анализ.
ОБСУЖДЕНИЕ И РЕЗУЛЬТАТЫ: научные статьи, анализирующие преимущества интеграции предмета перспектива с предметом изобразительного искусства, опираются на большую вовлеченность по сравнению со статьями, посвященными недостаткам при выполнении изображений. В обоих исследованиях авторы взаимодействуют с учащимися через общие знания по изобразительному искусству, однако статьи, направленные на изучение в связке с предметом перспектива, более активно привлекают внимание учащихся. Применение современных педагогических технологий и законов перспективы при обучении изобразительному и прикладному искусству способствовало расширению воображения и полноценному усвоению знаний.
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ЗАКЛЮЧЕНИЕ: правильное выполнение теней объектов для реалистичности и достоверности произведений изобразительного искусства является одной из основных задач художников с древних времен до наших дней. Законы перспективы при выполнении теней позволяют более ярко и реалистично передать реальность, чувства и идеи автора на бумаге, стене или потолке. В настоящее время мультимедийные технологии все шире используются и охватывают практически все сферы деятельности человека. Однако, как обсуждалось в данной статье, достоверные изображения, даже на компьютерном экране, должны быть построены в соответствии с законами геометрии и перспективы для правильного отображения окружающего мира.
Ключевые слова: перспектива, тень, полутень, падающая тень, собственная тень, освещение, уровень освещенности, источник света, положение солнца, граница тени, блик.
Для цитирования: Шукуров А.Р., Омонова Х.Ф Выполнение теней перспективе.
// Inter education & global study. 2024. №5. С. 398-411.
CASTING SHADOWS IN PERSPECTIVE
© Avaz R. Shukurov1^, © Khosiyat F. Omonova2^
1Bukhara State Pedagogical Institute, Bukhara, Uzbekistan
2Bukhara State Pedagogical Institute, Bukhara, Uzbekistan_
Annotation
INTRODUCTION: this article examines the importance of perspective in helping students learn to accurately draw images in visual arts by using perspective laws to render shadows correctly.
AIM: learning to accurately draw shadows using perspective helps young people perceive their environment accurately and understand drawing theoretically. It also serves to enhance their aesthetic sense, expand their imagination, and facilitate the easy assimilation of perspective and visual arts subjects.
MATERIALS AND METHODS: to study the extent to which students can grasp the subject being studied and to examine the conveniences and difficulties they face in mastering it, a corpus of 10 scientific articles was created (5 related to perspective and 5 on drawing images). The collected articles were published in international and national academic journals between 2010 and 2023. These articles were analyzed and a comparative analysis was conducted.
DISCUSSION AND RESULTS: scientific articles analyzing the benefits of integrating the subject of perspective with visual arts rely more on a larger engagement contingent compared to articles focusing on the shortcomings in drawing images. In both studies, the authors interact with students through general knowledge of visual arts. However, articles aimed at teaching in conjunction with the perspective subject actively
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draw more attention from students. Using modern pedagogical technologies and perspective laws to teach visual and applied arts has helped expand imagination and fully grasp knowledge.
CONCLUSION: accurately drawing shadows of objects to ensure the realism and credibility of works of visual art has been one of the main tasks of artists from ancient times to the present day. The laws of perspective in drawing shadows allow us to convey the reality, feelings, and ideas that the author wants to reflect in their work more vividly and realistically on paper, walls, or ceiling surfaces. Nowadays, multimedia technologies are being used more widely, covering almost all areas of human activity. However, as discussed in this article, even images on a computer screen, built in accordance with the laws of geometry and perspective, are the basis for accurately representing the surrounding world.
Key words: Perspective, shadow, penumbra, cast shadow, personal shadow, lighting, light, illumination level, light source, sun positions, shadow boundary, highlight.
For citation: Avaz R. Shukurov, Khosiyat F. Omonova (2024) 'Casting shadows in perspective', Inter education & global study, (5), pp. 398-411. (In English).
Light manifests itself in a drawing or painting through value. Value is the darkness or lightness of a color. In most circumstances, darker values are used for shadowed areas, while lighter values are used for highlighted areas. Values that are somewhere in between are commonly referred to as middle tones.
It is crucial to create the illusion of light in a drawing or painting, since light is how we see and understand the world around us. If we are to create convincing illusions in our art, we must be able to create the illusion of light.
In the space around us, light rays propagate in straight lines. The light illuminates the part of the object facing it, while the unlit part forms its personal shadow. The boundary of the personal shadow is formed where the light ray hits the object. This boundary line separates the illuminated part from the unlit (personal shadow) part of the object. The projection of this boundary line onto a surface or plane in the direction of the light is called the object's cast shadow. Therefore, before determining the object's cast shadow, it is necessary to draw its personal shadow. The object's own shadow on its surface is weakened by the light reflected from surrounding objects. Consequently, the object's cast shadow is darker than its personal shadow. Furthermore, the light rays hit the object's surface at various angles. Therefore, different parts of the object's surface receive varying amounts of light intensity. As a result, there is no sharp boundary between the illuminated and shadowed parts on curved surfaces. The measured angle between the light ray and the surface normal is the angle formed by the light and the surface. As mentioned above, artists widely utilize these physical properties of shadows.
In central and parallel projections, shadows are rendered from a purely geometric perspective (aside from aerial perspective). In central projection, shadows are mainly
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created using two types of light sources: natural (sun or moon) and artificial (light bulb or candle).
In artificial lighting, light sources (such as electric bulbs, candles, lanterns, etc.) are located relatively close to the object, within a three-dimensional space, and are called point sources. In central lighting, light rays hitting the object form a surface of a pyramid or cone (figure-1). As a natural light source, the sun and moon, located very far from us (effectively at an infinite distance), are considered. The light rays emanating from them are considered parallel, and this type of lighting is called parallel lighting. In parallel lighting, the light rays hitting the object's surface form the surface of a prism or cylinder (figure-2).
In visual arts, it is known that the principles of shadow and light are as follows: highlight, light, penumbra, shadow, reflex, and cast shadow. These indicators are illustrated in figure-3 using a cylinder as an example. The quantitative characteristics of shadow and light in relation to the surface parameters are examined using the cylinder as a model. This is because the full gradation of light and shadow can be observed on this surface. In the orthogonal projection of a right circular cylinder, the top view appears as a circle.
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Figure-3
Figure-4
A parallel light ray is directed at the given cylinder. The light and shadow, penumbra, and other aspects are illustrated in figure-4. Here, S represents the direction of the light ray; ACB represents the illuminated part of the cylinder surface; ADB represents the shadow part of the cylinder surface; C represents the highlight; IC and CII represent the illuminated parts of the surface, and IA and IIB represent the penumbra parts of the surface. The brightest part is where the light direction forms a 90-degree angle with the surface. As known from physics, the light intensity on a surface is directly proportional to the angle of the light direction, and the light is calculated based on this.
In figure-5, the incidence of light on a surface at 15-degree intervals is shown, and it illustrates the corresponding light intensity on the surface in percentages for these angles. To determine the angle of incidence of light on the surface of a cylinder, the tangent plane to the surface is used, meaning the angle between the light and the tangent plane is considered. Figure-6 shows these angle values.
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Based on the above diagram, determining the boundaries of the light, penumbra, and shadow on the cylinder surface is directly related to the angle formed by the light with the surface. In the bright part of the surface, the angle between the light and the surface tangent is 90 degrees; the boundary of the light part ranges from 75 degrees to 30 degrees, and the penumbra ranges from 30 degrees to 0 degrees. To determine how these angles relate to the cylinder radius, several circles of different radii were taken and examined.
Now, let's determine the shadow-light boundary for a spherical surface based on the method shown above. Since the sphere is a rotational surface, it is sufficient to determine the shadow-light amount in one cross-section. Figure-7 shows the meridian passing through the center of the sphere. The bright part is at 90 degrees, the light ranges from 75 degrees to 30 degrees, and the penumbra ranges from 30 degrees to 0 degrees. This method can mainly be applied to rotational surfaces. When an artist draws a picture, the positioning of the object and the light relative to each other significantly impacts the drawing. Depending on the observer's position, the amount of shadow, penumbra, and light varies.
--:—/ \ k\
A S.
5 S,
S,
Figure- 7
Figure-8
Figure-8 shows the positions of the observer S1, S2, S3, and S4. In position S1, the shadow part is barely visible, while in position S4, more than half of the shadow is visible. The length of the cast shadow depends on the angle at which the light falls on the object. As the angle between the light and the primary plane (the ground surface) approaches 90 degrees, the cast shadow shortens. After examining the light part, let's focus on the shadow part. The shadow part is generally divided into two: the shadow and the reflex. The shadow is formed behind the tangent plane drawn on the cylinder in the direction of the light. What about the reflex? The reflex is the light reflected on the surface of the shadow from another object. What does it depend on? Firstly, it depends on the
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distance of the object or objects from the cylinder surface; secondly, it depends on the intensity of the light falling on the surface, that is, the brightness of the object, and the reflective capability of the object.
Shadows mostly can be categorized as either "core" or "cast". Core shadows are shadows on the object itself, while cast shadows are the result of the light being blocked by the object. The shadow is then "cast" onto surrounding objects or surfaces.
Core shadows can tell the viewer about the form of the object in the scene, while cast shadows imply the shape of the object and the direction of the light.
The shape of the cast shadow is important, as it can give your viewer clues as to the shape of the object. Some artists choose to create cast shadows that "seem to make sense" with the light source. In many situations, this is perfectly acceptable. There is, however, another approach that is much more technical and involves the principles of perspective.
For most observational drawing, the shapes of the cast shadows are clear and can be drawn or painted based on observed comparisons between positive and negative spaces. But for drawing or painting from imagination, this little "trick" can come in handy.
Because there is light, all three-dimensional subjects have shadows. There are two major components of a shadow: the main shadow area on the subject itself, and the cast shadow. The cast shadow is the part of a subject's shadow that falls onto another surface. Cast shadows can be accurately constructed using perspective techniques.
Creating a cast shadow in perspective requires a fixed location for the light source in relation to the subject. We use two special types of vanishing points to define the location of the light source: the light source vanishing point, and the shadow vanishing point. The light source vanishing point represents the light source itself (the sun, a lamp). The shadow vanishing point defines the location of the light source in relation to the ground plane. We can connect the light source vanishing point to the shadow vanishing point with a vertical line. Think of the shadow vanishing point as the footprint for the light source, marking its relationship to the subject. For our purposes, we will assume the cast shadows are attached to the forms, meaning the subject articulates with the ground plane at its footprint (figure-9).
I /лит Cm юге i/D
I
I
Figure-9
Figure-10
To construct an attached shadow, first draw a form as it rests on a surface using normal perspective methods. Be sure to draw the entire footprint transparently, defining any hidden edges. Then choose a location for the light source by placing a light source vanishing point (LVP) and shadow vanishing point (SVP) (figure -10). Extend lines from the shadow vanishing point, contacting the outer edges and corners of the form. Note the points where the shadow vanishing point lines intersect the footprint. Extend vertical lines up from those points to top of the form. The top of those lines marks contact points for the light source vanishing point (figure-11). Now draw sloping lines from the light source vanishing point through the contact points out to where they intersect the shadow vanishing point lines. The combination of the sloping LVP line, vertical height line, and SVP line forms a triangle.
Figure-11
Figure-12
This triangle describes the angle of the cast shadow. The end of the shadow is marked by the intersection of the light source vanishing point and shadow vanishing point lines. Connect the shadow's end points to complete its shape (figure-12, figure-13). The technique for rendering cast shadows is virtually the same in one-point, two-point, and three-point perspective. Just note that in three-point per- spective the line connecting the
Figure-13
Figure-14
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shadow vanishing point to the light source vanishing point must originate from the third vanishing point (figure-14).
For forms with sharp angles such as rectangular prisms, having a contact point and a triangle at each corner will suf- fice, because the corners can be connected with straight lines. For curvilinear forms such as cylinders, however, we employ multiple contact points to define the shadow's shape. The more points mapped, the more precise the cast shadow, but you must use approximation to some degree to complete the form's outline (figure -15).
Figure-15 Figure-16
It is helpful to determine the most relevant landmarks of a form, and then map those contact points. For a human figure, for example, locate contact points for the head and shoulders. The remainder of the shadow's outline can be interpreted (figure -16). Know that sometimes the edges of a cast shadow will employ the same vanishing point(s) as the subject itself (figure -17). This is not always the case, however. So take care not to rely upon vanishing points as a way to shape the shadow. It is best to always use the shadow and light source vanishing points.
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Figure-17 Figure-18
It is helpful, though, to understand how the light source's location in relation to the subject determines the size, shape, and direction of the cast shadow. For example, a shadow is always cast opposite the light source, such that a light source positioned left casts a shadow to the right, and vice versa. A light source placed high results in shorter shadows, whereas a light source placed low creates longer shadows (figure-18).
When the light source is closer to the subject, it makes wider and shorter shadows, and farther away makes narrower and longer shadows (figure -19).
A light source directly overhead means the shadow vanishing point is contained within the form's footprint, and the light will cast a shadow that surrounds the form (figure-20).
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The light source does not have to fall within the frame of the composition. In fact, especially when the source is the sun, placing the light source vanishing point in the margins makes for more realistic shadows. The sun as a light source also produces two special conditions in which the light source vanishing point and the shadow vanishing point merge: sunrise and sunset. At sunrise and sunset, the LVP and SVP meet at one point on the horizon. Keep in mind, though, that in real space the horizon is seen in all directions. So if you want to simulate lighting conditions for a sunrise or sunset, the LVP/ SVP point does not necessarily have to be placed behind the subject on the horizon line; it can exist as a point anywhere in the margins (figure -21).
In designing architectural structures, the rays from the natural light source (the sun) and the shadows they create are taken into account. The observer's position relative to the sun or the sun's position relative to the observer can vary. Below are some characteristic positions of the sun relative to the observer:
1. The sun is in front (in the object's space) on the left.
2. The sun is in front (in the object's space) on the right.
3. The sun is behind (in an abstract space) on the right.
4. The sun is behind (in an abstract space) on the left.
5. The sun is on the left, with the light rays parallel to the painting. There is no point where the light direction falls.
6. The sun is on the right, with the light rays parallel to the painting.
7. The sun is rising or setting on the right. In this case, the length of the object's cast shadow cannot be determined.
8. During the sunrise or sunset on the left, it is also impossible to determine the length of the object's cast shadow. However, if there is a plane or surface behind the object blocking the light, its cast shadow can be determined.
To map this type of lighting, notice that if the light source is situated lower than the subject itself, the shadow vanishing point and light source vanishing point lines will never
POSSIBLE COMPOSITIOML FRAME
Figure-21
SUNRISE/SUNSET (L.VMVP)
Figure-22
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intersect. Instead the guidelines diverge (figure -22). So the shadow will be long but lack a clearly delineated ending border and simply fade at the far end.
Remember: cast shadows follow the contours of the surface upon which they fall. Be mindful when cast shadows fall on uneven ground, and sloping or vertical planes. The shadow vanishing point lines must follow the angles of the surfaces upon which they extend (figure -23). Additionally if more than one light source casts shadows on the same form, map each light source independently. The shadow will be darker in the over- lapping area (figure -24).
The accuracy of information regarding the structure and size of an object depends on how well it is illuminated. If there were only light without shadows, or only darkness without light, it would be impossible to see or perceive anything with the naked eye. In visual arts, artists pay great attention to the direction and intensity of light. For example, when drawing a portrait of an angry person, directing the light from below the jaw effectively conveys the intended emotional state.
The correct construction of an object's perspective provides information about its structure. However, skillfully depicting light and shadow in a perspective drawing significantly enhances the object's clarity. Thus, the intelligent use of light and shadow allows the artist to find interesting and complex compositional solutions.
ADABIYOTLAR RO'YXATI | СПИСОК ЛИТЕРАТУРЫ | REFERENCES
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Figure-23
Figure-24
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MUALLIF HAQIDA MA'LUMOT [ИНФОРМАЦИЯ ОБ АВТОРЕ] [AUTHORS INFO]
HShukurov Avaz Ro'ziboyevich, dotsent [Шукуров Аваз Розибоевич, доцент], [Avaz R. Shukurov, associate professor]; manzil: O'zbekiston, Buxoro, Piridasgir ko'chasi, 20 [адрес: Узбекистан, город Бухара, улица Пиридасгир, 20.], [address: Uzbekistan, Bukhara, Piridasgir Street, 20.]; avazshukurov1986@gmail.com
HOmonova Xosiyat Farhodovna, magistrant [Омонова Хосиат Фарходовна, магистр], [Khosiyat F. Omonova, graduate student]; manzil: O'zbekiston, Buxoro shahar, Amir Temur ko'chasi, 50 [адрес: Узбекистан, город Бухара, улица Амира Темура, 50.], [address: Uzbekistan, Bukhara, Amir Temur Street, 50.]; omonovaxosiyat0@gmail.com
