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Claroscuro

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Claroscuro

  1. 1. Luz y claroscuro
  2. 2. Los objetos tienen un relieve que hace quepodamos distinguirlos del fondo del entornocuando son iluminados.Cada cuerpo iluminado tendrá dos sombras:Una propia sobre la zona que no recibe la luzy proyecta otra que reproduce sus contornos,pero que se deforma según la inclinación dela superficie donde se proyecta.
  3. 3. Las superficies con aristas En las superficies curvasdeterminan cortes nítidos entre luz tiene una transicióny sombra suave.
  4. 4. El claroscuroEs la sensación de volumenproducido por el juego deluz y sombra sobre losobjetos. Doble retrato. Fotografía de U. Bezzi
  5. 5. Retrato fotográfico. Humphrey Bogart iluminado conDe Gianni Penati un foco de escena
  6. 6. Maniquí iluminado con luz Rostro de joven. Lorenzo di Credi,rasante. s. XV. Luz frontal.
  7. 7. El claroscuro y los maestrosAntiguamente se utilizaba como estudio previo para la realizacióndel cuadro definitivo a color. Estudio y cuadro para el ángel de la Virgen de la Rocas. Leonardo da Vinci.
  8. 8. Estudio para San Juanito.Leonardo da Vinci.
  9. 9. Cara de ángel.Fotografía deUlises Bezzi,1972
  10. 10. También se usaba para el estudio minucioso en los pliegues en lasvestiduras.
  11. 11. Estudio de la espalda.Carnizero, 1879.
  12. 12. Posiciones del foco luminoso1. Luz frontal. Produce 2. Luz lateral. Aumenta la 3. Luz inferior. Produce la mismaaplanamiento de las formas ya sensación volumétrica de los sensación deformante que el casoque se elimina gran parte de las rasgos y produce grandes anterior pero hacia arriba.sombras que dichas formas contrastes entre zonas de luz ypodrían proyectar. sombra. 4. Luz cenital. Deforma el aspecto de la cara ya que las sombras se proyectan hacia abajo. 5. Luz posterior. Produce el efecto llamado contraluz dejando la cara en sombra e iluminando fuertemente los contornos exteriores.
  13. 13. Grisalla. Durero
  14. 14. Grisalla.
  15. 15. St. George Slaying the Dragon. Rubens
  16. 16. Aguador de Sevilla. 1623 Velázquez
  17. 17. Joven mendigo. Murillo
  18. 18. Niños en la playa. 1910 Joaquín Sorolla
  19. 19. Ronda nocturna. 1642 Rembrandt
  20. 20. La incredulidad de Sto. Tomás. Caravaggio
  21. 21. Llamando a S. Mateo. Caravaggio
  22. 22. Existen tres prodecimientos básicos para crear el claroscuro: Sombreado-rayado: la sombra se consigue a base de superponer lineas en diversos sentidos.
  23. 23. Grisalla: se realiza mediante zonas rayadas en gris que se difuminan creando una gradación.
  24. 24. Mancha: se crea a base de zonas planas hechas con tinta que al superponerse aumentan de intensidad.
  25. 25. Ejemplo de Encaje y Sombreado
  26. 26. Ejemplos de Sombreados
  27. 27. Proceso de Sombreado 1 2 3 4
  28. 28. Procedimiento a seguir:1º Encaje2º Dejar contornos poco marcados3º Rayar con gris suave las zonas más oscuras y difuminar.4º Comparar el resto de zonas con las más oscuras y sombrear con menor intensidad.5º Ir subiendo los tonos gradualemnte, en distinas fases. Se pueden utilizar distintos tipos de lápices.6º Se puede utilizar la goma para iluminar zonas donde la luz de directamente.
  29. 29. no sí
  30. 30. Notas• Esta presentación ha sido tomada de la web de recursoseducativos de la junta de Andalucía-averroes y ampliada yeditada para esta asignatura.http://www.juntadeandalucia.es/averroes/~23000180/dibujo/recursos.htm

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