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Shadow mapping or shadowing projection is a process by which shadows are added to 3D computer graphics. This concept was introduced by Lance Williams in 1978, in a paper entitled "Casting curved shadows on curved surfaces."
These techniques can be combined with any illumination model: Flat shading; Gouraud shading; Phong shading; Illumination models. Realistic.
Shading is used traditionally in drawing for depicting a range of darkness by applying media more densely or with a darker shade for darker areas, and less densely or with a lighter shade for lighter areas. Light patterns, such as objects having light and shaded areas, help when creating the illusion of depth on paper.
Hatching (French: hachure) is an artistic technique used to create tonal or shading effects by drawing (or painting or scribing) closely spaced parallel lines.When lines are placed at an angle to one another, it is called cross-hatching.
After drawing the outline, back-face culling is set back to normal to draw the shading and optional textures of the object. Finally, the image is composited via Z-buffering, as the back-faces always lie deeper in the scene than the front-faces. The result is that the object is drawn with a black outline and interior contour lines.
Shadow volume is a technique used in 3D computer graphics to add shadows to a rendered scene. It was first proposed by Frank Crow in 1977 [1] as the geometry describing the 3D shape of the region occluded from a light source. A shadow volume divides the virtual world in two: areas that are in shadow and areas that are not.
The majority of NPR techniques applied to 3D geometry are intended to make the scene appear two-dimensional. NPR techniques for 3D images include cel shading and Gooch shading. Many methods can be used to draw stylized outlines and strokes from 3D models, including occluding contours and Suggestive contours. [7]
Christ at Rest, by Hans Holbein the Younger, 1519, a chiaroscuro drawing using pen, ink, and brush, washes, white heightening, on ochre prepared paper. The term chiaroscuro originated during the Renaissance as drawing on coloured paper, where the artist worked from the paper's base tone toward light using white gouache, and toward dark using ink, bodycolour or watercolour.