2. LightLight andand DarkDark
► ““ValueValue is simply the design term for light and dark.”is simply the design term for light and dark.”
► Our ability to determine figure/ground depends onOur ability to determine figure/ground depends on
relationships of light and dark.relationships of light and dark.
► In reduced light, our vision is more dependent on valueIn reduced light, our vision is more dependent on value
than color.than color.
► Achromatic GraysAchromatic Grays – grays that are mixtures of black and– grays that are mixtures of black and
white; no color is used.white; no color is used.
An Achromatic value scale of gray. The center circles are identical in value.
3. The Relationship Between LightThe Relationship Between Light
and Dark Areas.and Dark Areas.
► Value ContrastValue Contrast – The– The
relationship between areas ofrelationship between areas of
dark and light.dark and light.
► The average human eye canThe average human eye can
discern about 40 differentdiscern about 40 different
variations in value. (Seen asvariations in value. (Seen as
differing grays)differing grays)
► Low-value contrast describesLow-value contrast describes
the difference between any twothe difference between any two
areas next to each other thatareas next to each other that
are slight.are slight.
Ardine Nelson. DoubleFrame Diana #2103. Hand colored
black and white silver print, 1' 8" x 2' 6".
4. Balance by Value DistributionBalance by Value Distribution
Consider This:Consider This: NoteNote
where Gerome placeswhere Gerome places
values. Do they runvalues. Do they run
the scale from black tothe scale from black to
white? Where are thewhite? Where are the
values weighted?values weighted?
Jean Léone Gérome. The Duel after the Masquerade.
1857-1859. Oil on canvas, 1' 3 3/8" x 1' 10 3/16" (39.1
x 56.3 cm).
5. The Relationship Between ValueThe Relationship Between Value
and Colorand Color
►Value and color are related.Value and color are related.
►Every color has a value.Every color has a value.
►If you remove the color you get a grayIf you remove the color you get a gray
value.value.
►Pure yellow is a light or ‘high-value’ colorPure yellow is a light or ‘high-value’ color
which would correspond to a light gray.which would correspond to a light gray.
►Purple is a ‘low-value’ color that wouldPurple is a ‘low-value’ color that would
match a much darker gray on the graymatch a much darker gray on the gray
scale.scale.
6. Example: The RelationshipExample: The Relationship
Between Value and ColorBetween Value and Color
The values of the pink and green shapes are
close to the value of the expanse of gray.
Henri Matisse. The Piano Lesson. 1916. 8' 1/2" x 6'
11 3/4" (245.1 x 212.7 cm).The Museum of Modern
Art, New York.
7. Value PatternValue Pattern
Variations in LightVariations in Light
and Darkand Dark
► Value PatternValue Pattern - The- The
arrangement and thearrangement and the
amount of change inamount of change in
light and dark,light and dark,
separate from theseparate from the
colors used.colors used.
Artemisia Gentileschi. Judith Decapitating Holofernes.
c. 1620. Oil on canvas, 5’ 10” x 5’ (199 x 152.5 cm).
Galleria degli Uffi zi, Florence, Italy.
8. Value as EmphasisValue as Emphasis
► Creating a Focal PointCreating a Focal Point
Value can create a focalValue can create a focal
point.point.
An important feature isAn important feature is
emphasized by valueemphasized by value
contrast.contrast.
Value EmphasisValue Emphasis ––
High dark and lightHigh dark and light
contrast instantly attractscontrast instantly attracts
our attention.our attention.
Winslow Homer. Leaping Trout. 1889. Watercolor
on paper, 1’ 1 7/8” x 1’ 7”. Portland Museum of Art,
Portland, Maine (bequest of Charles Shipman
Payson, 1881.1).
9. An Experiment in Value ContrastAn Experiment in Value Contrast
► Andy Goldsworthy. Photograph, January 1981.Andy Goldsworthy. Photograph, January 1981. Sycamore stick placed on snow/raining heavily.Sycamore stick placed on snow/raining heavily. Middleton Woods,Middleton Woods,
Yorkshire. From Andy Goldsworthy: A Collaboration with Nature (New York: Harry N. Abrams, 1990).Yorkshire. From Andy Goldsworthy: A Collaboration with Nature (New York: Harry N. Abrams, 1990).
► Andy Goldsworthy. Photograph, January 1981.Andy Goldsworthy. Photograph, January 1981. Snow gone by next day, bark stripped, chewed and scraped off.Snow gone by next day, bark stripped, chewed and scraped off.
Middleton Woods, Yorkshire. From Andy Goldsworthy: A Collaboration with Nature (New York: Harry N. Abrams,Middleton Woods, Yorkshire. From Andy Goldsworthy: A Collaboration with Nature (New York: Harry N. Abrams,
1990).1990).
10. Value and SpaceValue and Space
““One of the most important uses ofOne of the most important uses of
gradations of dark and light is togradations of dark and light is to
suggest volume or space.”suggest volume or space.”
ChiaroscuroChiaroscuro – Coined during the– Coined during the
Renaissance from the Italian wordsRenaissance from the Italian words
meaning “light” and “dark”, it refersmeaning “light” and “dark”, it refers
to the artistic device that uses lightto the artistic device that uses light
and dark to imply depth andand dark to imply depth and
volume.volume.
► Value can be used to create volumeValue can be used to create volume
Sue Hettmansperger. Untitled Drawing. 1975.
Watercolorand pencil, 1' 11" x 2' 1" (58 x 64 cm).
Collection of North Carolina National Bank.
11. Value and AtmosphericValue and Atmospheric
PerspectivePerspective
Value can help create theValue can help create the
illusion of depth or space.illusion of depth or space.
► High Value contrasts seemHigh Value contrasts seem
to come forward.to come forward.
► Low Value contrasts seemLow Value contrasts seem
to move away.to move away.
Aerial or atmosphericAerial or atmospheric
perspectiveperspective – Our vision– Our vision
see things further away assee things further away as
being grayer and bluish asbeing grayer and bluish as
well as less distinct.well as less distinct.
Edward Burtynsky. Shipbreaking #10, Chittagong,
Bangladesh. 2000. Photograph. Charles Cowles Gallery,
New York.
13. TechniquesTechniques
ShadingShading - the use of- the use of
value in a work of art.value in a work of art.
► Creates visual interestCreates visual interest
► Each medium has aEach medium has a
different technique fordifferent technique for
shading…experimentshading…experiment
to find which you like.to find which you like.
Walter Hatke. Self-Portrait. 1973. Graphite on paper.
14. Choosing the MediumChoosing the Medium
Experimenting withExperimenting with
TechniquesTechniques
► Cross HatchingCross Hatching - a set of dark- a set of dark
lines that run in differentlines that run in different
directions and cross.directions and cross.
► Wash DrawingWash Drawing - where dark- where dark
ink or watercolor are mixed withink or watercolor are mixed with
water to produce desiredwater to produce desired
shades of gray or brown.shades of gray or brown.
► Mixed-MediaMixed-Media - When you- When you
combine several mediums in acombine several mediums in a
piece.piece.
Giovanni Domenico Tiepolo. St. Ambrose Addressing the Young St. Augustine. c. 1747-1750. Black chalk, pen,
and brown ink with brown wash on paper, 7 5/8” x10 7/8”. Arkansas Arts Center Foundation Collection: Purchased
with a gift from Helen Porter and James T. Dyke, 1993 (93.035).
15. Visual GraysVisual Grays
Using dots as a medium to createUsing dots as a medium to create
varying shades of gray as anvarying shades of gray as an
artistic statement.artistic statement.
As Black and White halftones, it isAs Black and White halftones, it is
very commonly used in:very commonly used in:
► NewspapersNewspapers
► BooksBooks
► MagazinesMagazines
Spread from catalog featuring fashion by R. Newbold, a
Paul Smith subsidiary, Autumn/ Winter 1996. Art
Director: Alan Aboud. Photographer: Sandro Sodano.
Computer Manipulation: Nick Livesey, Alan Aboud,
Sandro Sodano.
