Real-world examples of using light and shadow in figure drawing

If you’re looking for clear, dramatic examples of using light and shadow in figure drawing, start with a simple side light. Imagine a model standing about 6 feet from a single lamp placed directly to their right. The light hits one side of the face and body, leaving the other side in deep shadow.

In this setup, the lit side becomes a clear light family: forehead, cheekbone, nose bridge, top of the shoulder, front of the thigh. The shadow side becomes a shadow family: eye socket, side of the nose, jaw, ribcage, and the far leg. The edge where the light and shadow meet—the terminator—wraps around the forms and tells you exactly where the figure turns in space.

This is a classic example of how light can carve volume out of a simple pose. You’re not just shading randomly; you’re organizing the figure into big, readable shapes. Many atelier-style schools and academic drawing programs still teach figure drawing with this kind of side light because it exaggerates the form and makes the structure of the body easier to understand.

If you want to see real examples of this approach, look at paintings by Caravaggio or drawings by Renaissance masters in museum collections such as the National Gallery of Art or major university art museums. Their figures often use a strong side light to create powerful contrast and drama.

Overhead light: Everyday examples of using light and shadow in figure drawing

You see overhead lighting every day: in classrooms, offices, gyms, and grocery stores. It’s not always flattering in real life, but it gives you fantastic practice for figure drawing.

Picture a model standing under a ceiling light. The top planes of the figure catch the brightest light: top of the head, bridge of the nose, tops of the shoulders, upper chest, and upper thighs. Everything that turns downward begins to fall into shadow: under the brow ridge, beneath the nose, under the lower lip, below the pectorals, under the breasts, in the armpits, under the ribcage, and between the legs.

One powerful example of using light and shadow here is the cast shadow under the nose and chin. Even in a quick sketch, those two shapes immediately lock the head in space. Add the shadow under the jaw and on the neck, and the head suddenly feels attached to the torso instead of floating.

Modern figure drawing classes often use basic overhead lighting because it mimics real-world conditions. When you draw people in a café, on public transit, or at a life drawing group with simple ceiling lights, you’re basically practicing this same scenario.

Backlighting and rim light: Subtle examples include glowing edges and silhouettes

Some of the most striking examples of using light and shadow in figure drawing come from backlighting. Instead of lighting the front of the figure, you put the main light source behind the model—like a window, open doorway, or bright screen.

In this situation, the front of the figure often falls into a soft, generalized shadow. You lose a lot of interior detail, but you gain a rim of light around the edges: along the shoulders, the side of the face, the outer contour of the arms and legs.

This is an excellent example of how edge light can define form even when most of the figure is dark. You can keep the interior of the body in simple midtones and shadows, then carefully design a thin band of light along the silhouette. That rim light immediately tells the viewer where the figure is turning toward or away from the light source.

Backlit figures are very popular in contemporary illustration, concept art, and even fitness photography. Scroll through artists’ posts on social platforms and you’ll see countless real examples of dramatic rim-lit figures against bright windows or sunsets.

Window light: A soft, natural example of using light and shadow

Window light is one of the best examples of using light and shadow in figure drawing if you want subtle gradations instead of harsh contrasts. Think about a model standing near a large window on a cloudy day. The light is broad and soft, so shadows are more gradual.

Here, the cast shadows are less sharp, but the core shadow—that soft band where the form turns away from the light—is very visible. On the torso, you’ll see a gentle transition from light on the front of the ribcage to a core shadow along the side, then deeper shadow on the far side of the body.

An example of this in practice: draw a seated figure turned three-quarters toward a window. The near cheek, front of the neck, and front of the chest catch the most light. The far cheek, side of the nose, and side of the torso fall into a soft core shadow. You can use a wide range of midtones to show the slow turning of the forms.

Artists who study observational drawing often work from window light because it’s predictable and flattering. Art schools and community college drawing programs frequently set up their studios this way, and you can find tutorials and syllabi from university art departments (for example, through .edu sites) that describe similar setups and exercises.

Spotlight and chiaroscuro: High-contrast examples of using light and shadow in figure drawing

If you love drama, this is your playground. A single spotlight in a dark room gives you some of the most powerful examples of using light and shadow in figure drawing.

Imagine a model sitting on a stool in a mostly dark studio, with one bright spotlight aimed at their face and upper torso. The lit areas become almost white in value: forehead, nose bridge, cheekbone, top of the shoulder. The midtones are compressed, and the shadows go very dark, sometimes nearly black.

This is where chiaroscuro—the strong contrast between light and dark—really shows its strength. You can simplify the figure into just a few value steps: light, midtone, shadow, and the darkest accents. The best examples of this style feel almost sculpted out of darkness.

A practical example: in a three-quarter view, you might keep one eye socket almost completely in shadow, while the other eye and cheekbone are sharply lit. That asymmetry adds tension and mystery. Many contemporary artists in figurative realism and digital painting use this kind of lighting for portraits, character design, and narrative scenes.

For inspiration, you can explore museum collections or educational resources from institutions such as The Metropolitan Museum of Art or The Smithsonian to see historical examples of strong chiaroscuro in figure-based artworks.

Gesture and quick studies: Simple examples of light and shadow for speed

You don’t always have time for a long, detailed rendering. In short poses—30 seconds, 1 minute, 5 minutes—you can still use light and shadow effectively, just in a simplified way.

One helpful example of using light and shadow in quick figure drawing is to block in only the shadow shapes. Instead of drawing every contour, you squint at the model and identify the biggest dark areas: under the ribcage, between the legs, under the arms, and the shadow side of the head.

Fill those in as flat shapes, then add just a few accents in the darkest spots: eye sockets, under the nose, between the lips, under the chin. Suddenly the pose reads as a solid, three-dimensional figure, even though you didn’t fuss with details.

Many life drawing groups and art instructors recommend this approach as a way to train your eye to see value patterns. If you search for gesture drawing demos from art schools and university programs, you’ll see real examples of teachers emphasizing shadow mapping before details.

Digital vs. traditional: Modern examples include tablets, charcoal, and mixed media

In 2024–2025, figure drawing isn’t limited to charcoal and newsprint. Artists are exploring light and shadow using tablets, styluses, and hybrid workflows that mix digital and traditional media.

A common digital example of using light and shadow in figure drawing is to start with a mid-gray canvas, then paint in the shadows first using a soft brush. Once the shadow family is established, the artist erases or paints in the light shapes with a lighter color. This mirrors traditional subtractive drawing methods, like working on toned paper with charcoal and white chalk.

On the traditional side, many artists use toned paper and combine graphite or charcoal with white pencil. The paper represents the midtone; the dark pencil builds the shadows; the white pencil adds the lights. This is one of the clearest examples of how thinking in light and shadow simplifies the figure: you’re always asking, “Is this plane in light, midtone, or shadow?”

Art and design programs at universities often teach both digital and traditional figure drawing now, and you can find syllabi, course descriptions, and student work collections on .edu domains that show real examples of these methods in classroom settings.

Practical example of building a figure with light and shadow, step by step

Let’s walk through one concrete example of using light and shadow in figure drawing so you can see the logic in action.

Imagine a standing figure, three-quarter view, lit from the upper left by a single lamp.

You start with a simple gesture to capture the pose. Then you lightly indicate the basic forms: head, ribcage, pelvis, limbs. At this point, the drawing looks flat.

Now you identify the light direction. Because the light is coming from the upper left:

• The left side of the forehead, nose bridge, cheekbone, and chin will be in light.
• The right eye socket, side of the nose, and jaw will fall into shadow.
• The top plane of the left shoulder and chest will be lit; the underside of the right pectoral and the right side of the ribcage will be in shadow.
• The front of the left thigh will be lit, while the inner thigh and the far leg fall into shadow.

You lightly block in all the shadow shapes as one connected design. This is a classic example of how grouping the shadows makes the figure read more clearly. Only after that do you add darker accents in the deepest folds, under the chin, in the eye sockets, and between overlapping forms.

Finally, you add a few reflected lights in the shadows—soft, lighter areas where light bounces off the environment back into the figure. For instance, the shadow side of the ribcage might catch a faint glow from a nearby wall. This small touch is one of the best examples of how subtle light can add realism and atmosphere to your figure drawings.

How to study real examples of using light and shadow in figure drawing

If you want to train your eye, you need to look at a lot of real examples of using light and shadow in figure drawing, not just your own work.

Here are a few practical strategies you can use:

• Museum collections and archives. Many major museums and universities publish high-resolution images of figure drawings online. You can zoom in and study how masters simplified their light and shadow. Sites like the National Gallery of Art or university art museums (.edu domains) are good starting points.
• Life drawing groups. In-person or online sessions give you real-time examples of different lighting setups: overhead, side light, multiple lights, and even colored lights.
• Photo reference with controlled lighting. Look for figure reference that clearly shows a single light source. Many artists now use 3D figure apps or photography with simple lamps to create their own examples.

When you study, ask yourself:

• Where is the light coming from?
• What are the largest shadow shapes?
• Where is the edge between light and shadow the sharpest? The softest?
• Which small accents or highlights make the figure feel most three-dimensional?

By answering those questions again and again, you build an internal library of examples of using light and shadow in figure drawing that you can call on even when you’re drawing from imagination.

FAQ: Examples of using light and shadow in figure drawing

Q: Can you give a simple example of using light and shadow on the face?
Yes. Imagine a face lit from above and slightly to the left. The left forehead, nose bridge, and cheekbone are in light. The eye sockets, under the nose, under the lower lip, and under the chin are in shadow. If you draw only those shadows accurately, the face will already feel solid and three-dimensional.

Q: What are some easy examples of lighting setups I can try at home?
You can try a side light by placing a desk lamp to the left or right of a friend or a poseable mannequin. You can try overhead light by standing under a ceiling light and taking reference photos. You can also experiment with window light by posing near a large window in the morning or late afternoon.

Q: How many values should I use when I’m learning?
Many teachers recommend starting with just three: light, shadow, and dark accents. This simplified approach is one of the best examples of how limiting your options actually makes learning easier. Once you’re comfortable, you can add more subtle midtones and reflected lights.

Q: Are digital and traditional examples of using light and shadow basically the same?
The physics of light are the same, whether you’re working digitally or with charcoal. The main difference is the tools. In digital drawing, you might use layers, blending modes, and soft brushes. In traditional media, you might use charcoal, graphite, or ink washes. But in both cases, you’re still thinking in terms of where the light hits and where the form turns away from it.

Q: How can I practice without a live model?
Use photo reference, 3D pose apps, or even your own body in a mirror. Focus on simple examples first: a hand lit from one side, a foot under overhead light, a self-portrait near a window. The key is to keep asking where the light source is and how it separates light from shadow on the form.