Reflected Light
The reflected light is the area of the shadow on an object that is lighter than the darkest part of the
shadow. This lighter area within the shadow receives more light because the shape of the form in
that area turns in a particular way or begins to face a new direction, and so can be influenced by
light that is bouncing off other nearby forms or surfaces. The reflected light may also be caused by a
secondary light source.
Dean, as an art instructor, has a saying that he finds himself
often repeating to his students: “Don’t fall in love with the
reflected lights!” The reason for saying this is because many
students tend to overmodel or overstate the lightness of the
reflected light by making it as light as, or lighter than, the
tones in the lit part of the form.
The most likely reason for this overstatement of lightness is
the tendency to focus only on the tones within the shadow
and not consider the shadow in relation to the light part of the
form. The result of overmodeling a form is that instead of
enhancing the volume of the form, it does the opposite and
flattens it out. It is an understandable phenomenon. In the
quest to heighten the three-dimensionality of objects, we try
to use all of the devices at our disposal to create the illusion of
reality. We see that seductive reflected light in the shadow,
and we “run” with it. This is an example of why it is so impor-
tant, when looking at your subject, to try not to look “into” one
small area, but to compare a given area against all of the other
areas of your drawing in order to create a scale of tonal rela-
tionships. This will render convincing light, form, and space in
your work. Look at drawings by great masters. You will see
how they understate the reflected light.
The detail above illustrates the use of reflected light on all
three objects—apple, vase, and orange—from the still life used
as a previous example. Notice how the reflected light helps
give the illusion of the form turning away from the viewer,
thus enhancing its voluminous quality.
In the portrait, the reflected light is functioning in a similar
manner. It allows the center of the face, where the features
are, to come forward, while the reflected light in the shadow
recedes spatially. Notice that the tone of the reflected light
is substantially darker than the tones on the light side of the
form. The use of reflected light also adds a transparency to
the shadow.
Head Study,by Dean Fisher