Value Name______________________________________ Sarah Knill; Resource: Drawing Essentials by Deborah Rockman The 6 Divisions of Light and Dark Direct Light: 1._Highlight__________________________ 2._Light_____________________________ __Surfaces of an object that are in the direct path of a light source. The brightest and lightest range of values. WILL ALWAYS BE LIGHTER. Indirect Light: 3._Shadow__________________________ 4.__Core (of) Shadow__________________ 5.__Reflected Light___________________ 6.___Cast Shadow_____________________ __Surfaces of an object that are NOT in the direct path of a light source. These surfaces are only visible through bounced or reflected light, and so are NEVER as bright as directly lit surfaces. WILL ALWAYS BE DARKER. General to Specific Do the largest and most basic shapes everywhere. Then refine slightly everywhere, then slightly more everywhere. This will keep your drawing UNIFIED. It will allow for ADJUSTMENTS. Step 1:_Make distinctions between areas of LIGHT (LIGHTER) and areas of INDIRECT LIGHT (DARKER) – TRY SQUINTING. Step 2:_Identify the LARGEST & SIMPLEST PLANES OF VALUE (SQUINTING). Block in with a mid to light range value. USE THE BROAD SIDE OF THE STICK Step 3:_GRADUALLY ADD additional LAYERS of value. Address variations within the largest planes. Add SIMPLE DETAILS. Transition to stronger values._____________________________________________ Step 4:_Finally add complete value range and richness. Full details. Darkest/most intense values______ Options with Value Chiaroscuro Originating in the renaissance. Italian meaning “light and shade”. A representational use of the value that uses a full value range with even and gradual value transitions. Produces 3-­‐dimensional, volumetric and spatial effects. Tenebrism Also originating in the Renaissance. Italian, meaning “dark and gloomy”. An exaggeration or emphasis of the effects of chiaroscuro creating a strong contrast between light and shadow. Creates a dark, dramatic and theatrical mood. Often the main subjects are lit by a single light source (like a spotlight) creating areas of strong darkness & deep shadows in contrast to the light. Plastic Value Value used to describe the illusion of volume and space or “plastic” form, sharing characteristics of chiaroscuro. Just like chiaroscuro, requires consideration of contrast, detail and edge. High contrast advances spatially (foreground), low contrast recedes spatially (background). Greater detail gives dominance and advances an object (foreground), less detail recedes spatially (background). Sharp/clean edges advance spatially (foreground), soft edges recede spatially (background) Low-­‐Key Value Predominantly dark values. Used to create effect of gloom, mystery, drama, menace, heaviness, etc. Used to create effect of gloom, mystery, drama, menace, heaviness, etc. Middle-­‐Key Value Predominantly mid-­‐range values at the artist’s discretion. Still uses a range of values to describe volume and space, but this range is kept in the middle of the spectrum, emphasizing neither strong darks or lights. High-­‐Key Value Predominantly light values. Can be used to create an effect of light-­‐heartedness, delicateness, etc. Still uses a range of values to describe volume and space, but this range is kept on the lighter end of the spectrum. Things to Look For The Light Source IDENTIFY YOUR LIGHT SOURCE! 1:_What direction is the light source coming from?____DIRECTION_______________________________ 2:_How strong is the light source?____STRENGTH_____________________________________________ 3:_How does this affect the light and shadows on the object? _____SHAPE_____________________ (Things to Look For Continued) The Shape of Areas of Shadow and Light 1: What is the SHAPE of the shadow -­‐or-­‐ light in it’s largest and simplest form and how does that shape relate to the object in its entirety? (Think of light and shadow as puzzle pieces that lock together and are interdependent.) WHAT 2: Where is the shape located? WHERE 3: How large or small is it in relation to the surrounding area? HOW BIG 4: How does it relate to other shapes of value on the object in terms of size, position, darkness/lightness? RELATIONSHIPS/RELATIVE Variations of Value within Larger Shapes of Value 1: Once the largest & simplest areas of shadow have been blocked in, begin to NOTE SUBTLE VARIATIONS FOUND WITHIN THAT LARGER SHAPE. A large shape of shadow will often contain smaller passages of lighter and darker shadow. 2: It is especially useful to understand the 6 DIVISIONS OF LIGHT AND SHADOW to help identify these subtler variations: highlight, light, shadow, core shadow, reflected light and cast shadow. Edge Quality of Shapes of Value 1: WHAT do the edges of the shape of value look like? Is the edge quality the same throughout the shape? Probably not. 2: Does the value end abruptly on one edge and make a gradual transition to a different value on another edge? Is the edge HARD or SOFT? Methods for Applying Value Things to consider 1: MATERIAL used & character of material (hard/soft, thick/thin). 2: The way the material is held. GRIP 3: The PRESSURE applied. 4: The SURFACE upon which the material is applied. (Methods for Applying Value Continued) Continuous Tone 1. Continuous Tone is used to create smooth tonal structure that flows subtly and fluidly from one value to the next. 2. There is little to no evidence of the process. The marks are not apparent. 3. Usually results in a highly realistic or “photographic” effect in drawing. Hatching (Parallel, Contour, Cross-­‐Hatching) 1. The use of lines or strokes of varying lengths that are grouped together to create value. The spacing/density can vary to create lighter or darker tones. (1.127) a. Parallel Hatching -­‐ The lines or strokes are uniformly aligned, parallel to each other b. Contour Hatching -­‐ The lines or strokes follow the curvature or planar directions of the object. The strokes may curve or be straight as they follow a flat plane. c. Cross-­‐Hatching -­‐ Layers of parallel hatching change angles or direction as they are overlaid, rapidly building value range. Stippling 1. Usually for pen & ink or markers. The application of dots of value laid down one at a time. The density of the dots determines the value. Mark Making The application of marks that vary in weight, value, texture, length and direction. Their density determines the resulting value. Subtractive Drawing 1. Begins with the application of vine charcoal, compressed charcoal or graphite to white paper. The material is rubbed into the paper with a cloth/rag to create an overall BASE TONE of approximately middle value. 2. Erasers are used to remove or subtract the base tone, creating varying degrees of light. Additional media is used to create the shadows. The base tone remains as the middle value. 3. In subtractive drawing, you are creating both the shadows and the light, so you are more aware of both. 4. Keep materials consistent with subtractive drawing… graphite with graphite, charcoal with charcoal. Conte does not work well with subtractive drawing, because it does not erase as easily.