Look what I found to help you guys! A step-by-step animated GIF to demo this assignment. I did it two years ago, and naturally forgot all about it, naturally. Check it out. The first move you'll see is with the sideways red line in the upper right: it's used to find the Elevation of Light. Which will drive the one edge of the shadow of the counter that falls onto the right wall. A more recent post above also shows how the Elevation of Light is found and how it's used.
Click on it to see it animate. I think if you watch this through a few times, you'll get the sense of it, without having to do a lot of reading or remembering terminology.
After you watch it a few times, take a look at the next his one and see if you can see what's wrong with it. Answers are below in small print. Come on, really do this! Please! Don't outsmart yourself. A little non-laziness right now can save a lot of struggling later.
JH
Errors:
1) Shadow of table top is seen passing through air and never landing, because the student thought that a-lines could form the edges of shadows. D-lines were not used.
2) Shadows of chair backs (on tabletop) are likewise delineated by a-lines. D-lines were again not used.
3) Shadow of lower right corner of picture frame connects to the forward corner of the frame, rather than its contact point with the wall, creating yet another incidence of a shadow being at least partly outlined by a-lines.
4) Comically, the lamp's shadow is based on the assumption --conscious or not-- that the lamp is a flat object. Here the Find-the-Plan Method could save the day: Using a slightly greater quantity of reference points around the top and bottom of the lamp shade, and finding their plans on the floor, would show how the shadow of the circular structure of the shade really behaves.
7) The flower pots at the lower right are casting shadows that not only have a-lines defining their top edges, but exhibit shapes totally unrelated to flower pots. It's like having a cinder block cast the shadow of a Irish Setter. To compound the idiocy, the left pot casts a shadow on the wall that we can somehow see through the right pot, as if the pot were either not there, or painted flat on wall and floor. Yet here the student's questing young mind, perhaps justifiably unsure whether his methodology had served him well to this point, introduces a startling innovation: d-lines. Yes, the very same lines his sage instructor had told him were always needed, now sheepishly make their tardy appearance, adding--if not correctness--variety.
8) No overlay.
After you watch it a few times, take a look at the next his one and see if you can see what's wrong with it. Answers are below in small print. Come on, really do this! Please! Don't outsmart yourself. A little non-laziness right now can save a lot of struggling later.
JH
Errors:
1) Shadow of table top is seen passing through air and never landing, because the student thought that a-lines could form the edges of shadows. D-lines were not used.
2) Shadows of chair backs (on tabletop) are likewise delineated by a-lines. D-lines were again not used.
3) Shadow of lower right corner of picture frame connects to the forward corner of the frame, rather than its contact point with the wall, creating yet another incidence of a shadow being at least partly outlined by a-lines.
4) Comically, the lamp's shadow is based on the assumption --conscious or not-- that the lamp is a flat object. Here the Find-the-Plan Method could save the day: Using a slightly greater quantity of reference points around the top and bottom of the lamp shade, and finding their plans on the floor, would show how the shadow of the circular structure of the shade really behaves.
5) Uprights in shelf unit don't cast their shadows to the right. They should.
6) Shadow of top edge of shelf unit ignores the Law of Parallels and creates a fourth instance of an a-line being mistaken for the edge of the shadow. 7) The flower pots at the lower right are casting shadows that not only have a-lines defining their top edges, but exhibit shapes totally unrelated to flower pots. It's like having a cinder block cast the shadow of a Irish Setter. To compound the idiocy, the left pot casts a shadow on the wall that we can somehow see through the right pot, as if the pot were either not there, or painted flat on wall and floor. Yet here the student's questing young mind, perhaps justifiably unsure whether his methodology had served him well to this point, introduces a startling innovation: d-lines. Yes, the very same lines his sage instructor had told him were always needed, now sheepishly make their tardy appearance, adding--if not correctness--variety.
8) No overlay.
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