Value

art fundamentals: theory and practice

12 edition
OCVIRK, STINSTON,WIGG, BONE, CAYTON
p. 150-
INTRODUCTION TO VALUE RELATIONSHIPS

From the rising of the sun to the soft glow of the moon, we see images as
light against dark or dark against light. the greater the contrast, the easier
the image can be seen – although an extreme contrast of light and dark is
not always necessary for an object to be understandable.
Robert Longo
Robert Longo
Achromatic values, which consist of white, black, and the limitless degrees
of gray without color. The achromatic value scale illustrates the change
from white to black in evenly gradated steps.
In the visual arts, an area’s relative lightness or darkness is
referred to as its value. Contrasts in value allow us to see lines
and shapes, sense depth and dimensionality, and perceive
surface textures. Our eyes are also guided through a
composition by the patterns of those value contrasts, which
encourage us to focus on particular locations in the work.
Careful value choices even affect our psychological or
emotional reactions. Value has both compositional function and
great expressive capability. An understanding of value is
fundamental to the study of art because it applies to all the
elements.
An artist can create an image
with contrasting values,
similar values, or any
combination along the value
scale. Sometimes, a designer
will use the extreme contrast
of black and white for
dramatic effect.
Other times, to harmonize
a piece, an artist can
choose to work with
values that are closely
related. The artists
selects values within a
limited range rather than
use the full value
spectrum. A work that
uses predominantly dark
values, ranging from
middle gray to black, may
be said to have low-key
values.
 When a work contains mostly light
values, ranging from white to
middle gray, it is said to have
high-key values.

artist: Robert Bauer

With both approaches, a limited amount of the opposite values
may be introduced for accents, but those contrasting accents
should not destroy the dominate feeling of lightness or darkness.
The “key” selected can be used to establish a general mood for
the work – a preponderance of dark (low-key) areas creates an
atmosphere of gloom, mystery, drama, or menace, whereas a
composition that is basically light (high-key) will produce quite the
opposite effect.
Ellen Soderquist
Doppelganger © 1992
Robert Dale Anderson
Peter Milton, 1930 -
Pl.II-2 from the Portfolio The Jolly Corner - Text by
Henry James
1971
Etchings
37.7 x 24.7 cm (image)
Chiaroscuro
The early fourteenth-century artist Giotto is credited with taking a great leap in painting
toward the representation of three-dimensionality on a two dimensional surface. His work
broke from the flatter Byzantine painting to show form through modeling. With shadows
based on a sense of directional light, he was able to translate the three-dimensionality of the

visible world to his two-dimensional (2D) surface.

 Renaissance artists such as Leonardo da Vinci and Michelangelo furthered these
investigations, solidifying the system of chiaroscuro that became a process of using light
(chiaro) and dark (scuro) to create the illusion of solid form in believable space.
Based on the observation of light and shadow in the world, chiaroscuro employs a
purposeful grouping of value shapes that change gradually from light to dark. This pattern of
value shapes, gives the illusion of volume. The Leonardo drapery study demonstrates the

principles of chiaroscuro.

Leonardo Da Vinci (1452-1519), Drapery on a Seated Figure

10.4x10 cm. Louvre, Paris, France
•  Chiaroscuro
Chiaroscuro is a method for applying value to a two-dimensional piece of artwork to
create the illusion of a three-dimensional solid form. This way of working was
devised during the Italian Renaissance and was used by artists such as
Leonardo da Vinci and Raphael. In this system, if light is coming in from one
predetermined direction, then light and shadow will conform to a set of rules.A
highlight will mark the point where the light is being reflected most directly. This
is most often bright white, although in my illustration it is 10% Black. As one's
eye moves away from this highlight, light hits the object less directly and
therefore registers a darker value of gray. In the illustration there is a regular
transition until you reach the point where the shadowed area of the form meets
the lighted side.Here there is a more sudden transition to darker values because
no light is hitting that side. Some indirect light is available because the dark side
does not turn solid black. This is the result of reflected and refracted light that
naturally occurs. As you look at the extreme edge of the form, you will notice that
it is markedly lighter than the shadowed area of the object. Light in the
environment is illuminating the back edge.The cast shadows are usually divided
up into separate values as well. The area closest to the object is usually the
darkest area that is being portrayed. Then, as light becomes more available, the
same cast shadow lightens in increments until it reaches the shadow's
edge.Hint: Often times a drawing does not have this exact transition of grays.
One can control and manipulate this formula to create interesting moods and
character in a piece of work. A High Key drawing is one that has mostly light
values, probably with no value of more than 60% at the darkest points. A Low
Key drawing would be one that has mostly dark values. In both Low and High
Key pieces this system of chiaroscuro can be used to create the illusion of three-
dimensional space in a drawing.
some divisions of light/shadow:
Highlight:
The point closest to the light source where light is most concentrated. Highlights are
easiest to see on reflective or glossy surfaces.
Light:
Half of a hemisphere is lit when a light source is present. We see more of the light
side than we do shadow in the illustration at the top right.
Shadow:
The half hemisphere that is darker (not necessarily dark) which is opposite the lit
hemisphere.
Core shadow:
This is the center of the darkened area. From our vantage point it is a thin crescent.
Reflected light:
Use this as often as you can. It can help to define the back edge of an object. It
occurs in a shadowed area and is caused by light being reflected from another
area or created by a secondary light source.
Cast shadow:
This gives an object a nice sense of space
Changes in planes cause these amounts of light and shadow to be altered. This
Leonardo da Vinci drawing shows how chiaroscuro is applied to the face. If you
look closely at the chin, you can see the highlight with reflected light on the
underside.
http://drawinglab.evansville.edu/applied.html

Chiaroscuro Applied to the Figure

Characteristics of chiaroscuro can be applied the to the face by
looking at all the changing planes and by paying special
attention to the light source.

In this diagram the previously described formula is applied to a

group of spheres and a pyramid (nose). you can pick out six or
seven distinct areas: highlight, light, shadow, core shadow,
reflected light, secondary highlight, and cast shadow.
Some elements to note:
The head is oval in shape so the shading will stretch around the form
differently than in a sphere.
The eyes are a sphere and will protrude from the face. A common mistake
among those first learning to draw the figure is to draw the eyes as flat.
The nose has flat planes on each side which change in value (lightness/
darkness).
The lower lip tends to more often be lit more than the upper lip because light
generally comes from above it. The lower lip tends to be shadowed.
The nose casts a shadow. That shadow wraps around the planes of the
face.The rest of the figure has similar characteristics.
The arms, legs and trunk of the body can be thought of as cylindrical forms
which have the same distinct areas of light.Changes in planes cause these
amounts of light and shadow to be altered.
The Lhermitte drawing of An Elderly Peasant Woman shows how
chiaroscuro is applied to the face. The use of texture is equally impressive
in this charcoal drawing.
details:
details:
details:
http://www.anticz.com/drawing1.htm
http://www.anticz.com/drawing1.htm
http://www.anticz.com/drawing1.htm
http://www.anticz.com/drawing1.htm