Constructing A Model For Lighting Reference

For my experimentation with making models for lighting reference I have chosen to create artwork of the same scene, lit in various different ways, to see how it effects the way the composition is read. I began by choosing the composition from my Major Project that I wanted to use as a subject for my experimentation (pictured below). I chose this composition as I wanted to experiment with the way natural light casts shadows and it is an outdoor scene, enabling me to do that. It also has elements that could cast large shadows, drastically altering the composition depending on the directional lighting.

After choosing the composition that I wanted to use, I then constructed a rough 3-dimensional model of the main forms that would cast shadow within the composition. 

 I constructed the model using card, off-cuts of board, paper straws and hot-glue. I then took my model outside, photographing it in different lighting conditions and angled at different positions in relation to the sun, to cast shadows in different directions. 

This exercise has been really helpful in showing me the way in which shadows are softer in overcast and twilight conditions and how drastically the lighting can affect the look of a scene. The next stage of my investigation is to make black and white thumbnails of the most effective lighting schemes to look more closely at how the lighting affects the reading of scenery. 

Looking at Lighting Schemes

For the main body of experimentation I will be referencing and painting the same composition in three different lighting schemes. The composition I've chosen is an outdoor street scene, lending itself to three schemes based on weather and time of day. The three schemes I have chosen are Direct Sunlight, Overcast Light, and night time with street lights, giving me the opportunity to look at both natural and artificial light sources.

Direct sunlight is the lighting on a clear, sunny day. The light comes from three sources: the sun, the sky, and the reflected light from illuminated objects. The light from the sun being the strongest source. This lighting scheme is characterised by blue skies and dark shadows. Shadows become greyer as the sky becomes cloudier.

The Oyster Gatherers of Cancale
John Singer Sargent

With overcast light, the layer of clouds in the sky diffuse the sunlight, evening out tones and removing dark, contrasting shadows. This lighting scheme makes complex outdoor scenes easier to paint as there is less contrast in tones and colours can be kept faithful to the colour of the object.

Breakwater at Trouville, Low Tide
Claude Monet

Night scenes have a great contrast of blues and yellows. The moon gives off a blue green light and artificial lights give off orange, yellow and white light depending on the type and intensity of lighting. To create a more convincing an easily read painting, blacks should be used sparingly as night time street scenes are scene in blues to the naked eye.

The Cafe Terrace on the Place du Forum
Vicent van Gogh

My research into these lighting schemes will help me with identifying the lighting conditions that are best for photographing my references. My next step is to make colour roughs of the composition and create and shoot the necessary reference for the composition.