Not long ago
I was on a bench in Washington Square Park people watching. It is one of the
better places in New York City to see the entire spectrum of humanity mingling
on the urban stage. The sun was low in the west, and streamed into the square
between the buildings on the west side of the park. This created a tight
“spotlight”, making the area beneath the Garibaldi monument something of a
stage.
The effect of
“spotlights” is dramatic. It takes the scruffy street musician, and makes him
into an event. While an urban “spotlight” such as that shown above is created
when buildings block the sun, the same effect can be created by clouds on a
grander scale.
The photo
above of Providence Town shows a sunset spotlight highlighting the beach front.
It is subtle, but charming. The unlit buildings to the left and right frame the
view. Note that the edges of this “spotlight” are soft, whereas the spotlights
at Washington Square were relatively sharp.
This computer
tablet sketch uses the same effect to emphasize the part of the town with the
church steeple.
The same
effect is illustrated in Berthing Boats
in a Dutch Harbor by Andreas Achenbach, painted in 1877.
Newburyport Meadows by Martin Johnson Heade shows the
source of the spotlights that are playing across the meadows.
The Cactus Friend by Carl Spitzweg suggests how dramatic
the spotlight effect can be, even when used in the simplest sketch.
This
illustration (Babe’s Greatest Moment by
Douglas Crockwell), may not seem to have anything to do with architectural
illustration, but it is a blueprint for drama. Imagine a cluster of buildings
lit by the rays of a sunset cutting in beneath the grey blanket of a thunder
storm.
One occasion
an illustrator can use a large fuzzy spotlight is in highlighting a specific
part of an urban scene in an aerial perspective. LaCledes Landing could not be
seen without the context of downtown St. Louis, but it had to stand out from
the rest of the urban fabric. A very soft sky spotlight was used which shows
everything in perfect detail, but gives the new development the starring role.
Die Propyläen auf dem Münchner
Königsplatz Leo von
Klenze is a beautiful example of soft and hard shadows. The soft edged shadow
the makes the top of the structure lighter than the bottom is produced by the
clouds that are miles away. The sharp shadow to the left of the entry is cast
by the portico itself which is perhaps 15 feet away. The edges are soft or hard
depending on the sharpness of the thing blocking the sun, and on the distance
between the object where the shadow is cast and the object blocking the sun.
Since the sun’s disc is not a point, the edge of a shadow becomes fuzzier in
proportion to the width of the sun’s disc and the ratio of the distance from
the casting object and the sun, and the casting object and the shadow.
Besides the
sharpness of the edge of spots, the color of the light and the color of the
shadow are important in getting the effect right. Note that the shadow cast by
the girl is sharp (because she is close to the shadow), and cool compared to
the lighted stone. This is because the major light striking the shadowed area
is blue light reflected from the sky. The shaded cracks of the stone below her
elbow are a warm brown/grey because they are primarily lit by light reflecting up
from the surrounding stone.
Spotlights
are an easy (and surprisingly forgiving) tool for producing drama. Try them out
whenever a bit of emotion and showmanship is called for.
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