Design PrinciplesDesign PrinciplesChapter 12: ValueChapter 12: Value

LightLight and and 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 on Our 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 value than In reduced light, our vision is more dependent on value than

color.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.

The Relationship Between The Relationship Between Light and Dark Areas.Light and Dark Areas.

► Value ContrastValue Contrast – The – The relationship between areas relationship between areas of dark and light. of dark and light.

► The average human eye can The average human eye can discern about 40 different discern about 40 different variations in value. (Seen as variations in value. (Seen as differing grays)differing grays)

► Low-value contrast Low-value contrast describes the difference describes the difference between any two areas next between any two areas next to each other that are slight. to each other that are slight.

Ardine Nelson. DoubleFrame Diana #2103. Hand colored black and white silver print, 1' 8" x 2' 6".

Balance by Value DistributionBalance by Value Distribution

Consider This: Consider This: Note Note where Gerome where Gerome places values. Do places values. Do they run the scale they run the scale from black to white? from black to white? Where are the 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).

The Relationship Between The Relationship Between Value and ColorValue and 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 gray If you remove the color you get a gray

value. value. ►Pure yellow is a light or ‘high-value’ color Pure 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 would Purple is a ‘low-value’ color that would

match a much darker gray on the gray match a much darker gray on the gray scale.scale.

Example: The Relationship Example: 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.

Value PatternValue Pattern

Variations in Light Variations in Light and Darkand Dark

► Value Pattern Value Pattern - - The arrangement The arrangement and the amount of and the amount of change in light and change in light and dark, separate from dark, separate from the colors used.the 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.

Value as EmphasisValue as Emphasis

► Creating a Focal Creating a Focal PointPoint Value can create a Value can create a

focal point.focal point. An important feature An important feature

is emphasized by is emphasized by value contrast.value contrast.

Value EmphasisValue Emphasis – – High dark and light High dark and light contrast instantly contrast instantly attracts our attention.attracts 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).

An Experiment in Value An Experiment in Value ContrastContrast

► 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).

Value and SpaceValue and Space

““One of the most important uses One of the most important uses of gradations of dark and light of gradations of dark and light is to suggest volume or space.”is to suggest volume or space.”

ChiaroscuroChiaroscuro – Coined during the – Coined during the Renaissance from the Italian Renaissance from the Italian words meaning “light” and words meaning “light” and “dark”, it refers to the artistic “dark”, it refers to the artistic device that uses light and dark device that uses light and dark to imply depth and volume. to imply depth and volume.

► Value can be used to create Value can be used to create volumevolume

Sue Hettmansperger. Untitled Drawing. 1975. Watercolorand pencil, 1' 11" x 2' 1" (58 x 64

cm). Collection of North Carolina National Bank.

Value and Atmospheric Value and Atmospheric PerspectivePerspective

Value can help create the Value can help create the illusion of depth or space. illusion of depth or space.

► High Value contrasts High Value contrasts seem to come forward.seem to come forward.

► Low Value contrasts Low Value contrasts seem to move away.seem to move away.

Aerial or atmospheric Aerial or atmospheric perspectiveperspective – Our vision – Our vision see things further away see things further away as being grayer and as being grayer and bluish as well as less bluish as well as less distinct. distinct.

Edward Burtynsky. Shipbreaking #10, Chittagong, Bangladesh. 2000. Photograph. Charles Cowles

Gallery, New York.

Value and Physical and Value and Physical and Psychological SpacePsychological Space

► Value can create zones Value can create zones

of lightness and of lightness and darkness.darkness.

► Value can create literal Value can create literal difference in spaces difference in spaces such as two or more such as two or more contrasting parts.contrasting parts.

► Value usage can form a Value usage can form a feeling or sense of feeling or sense of space that carries space that carries psychological weight.psychological weight.

Sue Coe. Charlie Parker Watches His Hotel Room Burn. 1984. Photo etching, 10 1/2" x 1' 2". © 1984

Sue Coe. Courtesy Galerie St. Etienne, New York.

TechniquesTechniques

Shading Shading - 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 a Each medium has a

different technique for different technique for shading…experiment shading…experiment to find which you like.to find which you like.

Walter Hatke. Self-Portrait. 1973. Graphite on paper.

Choosing the MediumChoosing the Medium

Experimenting with Experimenting with TechniquesTechniques

► Cross HatchingCross Hatching - a set of - a set of dark lines that run in dark lines that run in different directions and different directions and cross.cross.

► Wash DrawingWash Drawing - where - where dark ink or watercolor are dark ink or watercolor are mixed with water to mixed with water to produce desired shades of produce desired shades of gray or brown.gray or brown.

► Mixed-MediaMixed-Media - When you - When you combine several mediums combine several mediums in a piece.in a 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).

Visual GraysVisual Grays

Using dots as a medium to Using dots as a medium to create varying shades of create varying shades of gray as an artistic gray as an artistic statement.statement.

As Black and White halftones, As Black and White halftones, it is very commonly used in: it is 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.