Green drawing value_structures
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Green drawing value_structures
- 1. Working with Value Structures. Green_Thomas
- 2. Value • “Value” • Value refers to relative light and dark in a sample. Hue is circular and continuous, but value is linear and progressive.”
- 4. Value Creates the illusion of Volume
- 5. 1. Highlight: The brightest light, where light from the source falls most directly on the object. 2. Cast shadow: The darkest shadow, caused by the object’s blocking of light from the source. 3. Reflected light: A dim light, bounced back onto the object by light falling on surfaces around the object. 4. Crest shadow: A shadow that lies on the crest of a rounded form, between the highlight and the reflected light. Crest shadows and reflected lights are difficult to see at first, but are the keys to “rounding up” forms for the illusion of 3-D on the flat paper.
- 8. A General-to-Specific Approach to Building Value Structure
- 9. A General-to-Specific Approach to Building Value Structure
- 10. A FULL RANGE OF VALUES
- 11. HIGH KEY VALUES
- 12. LOW KEY VALUES
- 13. Four Things to Look for in Value Structures 1. LIGHT SOURCE
- 14. Four Things to Look for in Value Structures 2. Shapes of areas of shadow and light
- 15. Four Things to Look for in Value Structures 3. Variations within larger shapes of values
- 16. Four Things to Look for in Value Structures 4. Edge Quality of Value Shapes
- 17. Additional Considerations When Working with Value Controlling Some Variables of Value Structure • When dealing with halftones or middle values (belonging clearly to neither dark shadow or bright light): —Halftones associated most strongly with lit surfaces should be drawn lighter than they appear to be. —Halftones associated most strongly with shaded surfaces should be drawn darker than they appear to be. • Think of value in terms of two distinct groups—areas of shadow and areas of light. Simplify your value structure. Do not allow these two separate areas to overlap or get mixed up. • The greatest contrast of value should occur between general massed areas of light and general massed areas of shadow. • If possible, keep the balance or proportional relationship of values (light, medium, dark) uneven or irregular; in ratio terms, think 3:3:1 (a lot, a lot, a little). Avoid an equal amount of light, medium, and dark values.
Editor's Notes
- Light logic. Light falls on objects and (logically) results in the four aspects of light. Now that you have gained experience with the first three perceptual skills of drawing—the perception of edges, spaces, and relationships—you are ready to put them together with the fourth skill, the perception of lights and shadows.
- After the mental stretch and effort of sighting relationships, you will find that drawing lights and shadows is especially rewarding. This is a skill often most desired by drawing students. It enables them to depict three-dimensionality through the use of a technique students often call “shading,” and you might also hear the term light logic.
- Light falling on forms creates lights and shadows in a logical way. you). Shadows are logically formed where the light is blocked. Light logic also requires that you learn to see differences in tones of light and dark. These tonal differences are called “values.” Pale, light tones are called “high” in value, dark tones “low” in Value. You may also hear this called High key and low key. When drawing the areas of shadow, you can break down subcompartments of form into more shapes. Because these are not readily definable shapes, we tend to move right into right brain mode to perceive this.
- there is a tendency to focus first on detail and the darkest areas of shadow, regardless of the subject matter. This can result in a very spotty and uneven drawing. Think of building a house and how you must build walls and put in electricity and plumbing before you can focus on the details and finishing.
- The largest, simplest planes of value are identified first, and blocked in with a value that falls somewhere in the mid-light range of the value scale. This is best accomplished by using a drawing tool (whether it be lead, graphite, or charcoal) that is hard, such as a 2H pencil,
- As you progress and more values are added, addressing variations within the large simple planes, a gradual shift is made to softer drawing materials, such as a 2B pencil, and Finally, as full detail and darkest values are addressed, yet softer/darker drawing materials can be utilized to yield a rich and complete value range. This assumes, that a full value range is desired, one that describes the broad range of light and shadow—highlight, light, shadow, core shadow, reflected light, and cast Shadow.
- If, however, the desired results are for a high key drawing (see definitions below), then the softest and darkest drawing media would not need to be utilized,
- a low key drawing would encourage a shift to softer and darker drawing media earlier in the PROCESS
- LIGHT SOURCE. It is important to identify the light source, and for beginning drawing students it is most helpful to keep the light source as singular as possible. What direction is the light source coming from? How strong is the light source? How does this affect the shadows found on the forms being drawn.
- THE SHAPE OF AREAS OF SHADOW AND LIGHT. What is the shape of the shadow in its largest, simplest form, and how does that shape relate to the form in its entirety. Conversely, what is the shape of the light in its juxtaposition with the shadow?
- In Nerdrum’s drawing, many subtle variations of tone can be seen in the larger shapes of light and dark, contributing to the strong description of volume and mass. Note, for example, the delicate reflected light and deepened core shadows found in the large shadow located on the figure’s head, face, ear, neck, and shoulder
- EDGE QUALITY OF VALUE SHAPES. What do the edges of the shape of value look like? Is the edge quality the same throughout the shape? Probably not. Does the value end abruptly on one edge and make a gradual transition to a different value on another edge? Is the edge of a value hard or soft or somewhere in between? Is an edge so soft that it is difficult to determine where the value actually ends