Hi, a quick question, i'm not sure but .. the areas enclosed with circles are considered as cast shadows?
I would argue, that most of the shadows in the pictures are form shadows, but that's besides the point. I would recommend, you analyze the picture as best as you can and when you unsure you just decide weather you think the shadow(s) in question are important enough to include or not.
I will try to analyze my best but should I consider the form shadow as cast shadow in the exercises?
You mean to change the light intensity?
according to the texture video, I decide which shade I should choose
I think I would not differentiate between form and cast shadows, at least not for the paper texture. And yep, exactly as stated in the video you choose which parts you think are important enough to include. I don't quite understand what you mean by changing the light intensity, could you elaborate on that?
I think this is a really good question ( and I have been through this exercise but still struggle with the concepts ).
It's so close to being all on one plane with no hard edges that I would say they were form shadows. However I could make an argument for cast but it would be weaker. If the paper was more severely crumpled so there were more acute planes then it would be easier.
I'm not sure whether this image perhaps has too diffuse light to differentiate clearly. It there was just one distinct light source it might have aided discovery.
I will be following any other responses with interest.
Thanks for the answer, I will try to find a better image, I am trying to find the cast shadows, am I correct?
This is all in my opinion, not necessarily canon.
It is implied as cast shadows in the text. I think this is something to understand but not to overly concern you. Cast shadows tend to be the very dark shadows that have clearer definition, form shadows are more diffuse. So when you are drawing texture you have to decide which shadows are significant in depicting it. These will generally be the cast shadows because of their nature.
I tend to look at the image and try and decide what the cut off value is for where a shadow is depicted or not depicted and then render them. Give or take and allowing for hue.
I think your attempt above is good. The big benefit of this lesson is learning to closely observe what is going on ( it has helped me enormously ) but it does mess with your head if you let it. Push through, do your best, then get some feedback is my recommendation.
Some of you may remember James Gurney's breathtaking work in the Dinotopia series. This is easily my favourite book on the topic of colour and light, and comes highly recommended by any artist worth their salt. While it speaks from the perspective of a traditional painter, the information in this book is invaluable for work in any medium.
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