Highlight: Lightest light = white

Shadow: Darkest dark = black

Mid-tones: All the grays in between

The aim of realist value drawing is to accurately illustrate the form or 3D quality of objects using highlights, mid-tones and shadows

We can use value to make a 2D drawing look 3D. For example, we can make this circle look like a sphere by using a range of value to give the illusion of form.

Outlines only define visible edges and don't tell us anything about light and dark. Linear drawing and value drawing are two different systems of representation.

Eliminating outlines and using value

only accurately describes an object’s appearance⏎

Cube made using both outline and value ⏎

Cube made using only value

A good way to begin using value in a drawing is to assign each shape in the drawing a different value. Notice the different shapes of value in this ink wash drawing.

Notice that the pumpkin is defined only by light and dark, not by outline. By filling in the background with value, the light edge of the pumpkin is visible. Most successful value drawings use light and dark throughout the entire composition.

Value drawing is like painting in graphite or charcoal. The process is different than using a brush – you need to think in terms of AREAS as opposed to lines. Shade the darks, observing the shape and value while being careful to shade up to the edge of adjoining light areas. The realism seen in some images takes a very high degree of detail, where the tonal values are closely observed and finely drawn.

When creating a value drawing, you need to shift out of line-drawing mode. The best way to do this is to forbid yourself to draw a line, and focus on areas of value. You may use the lightest of lines to get down the basic shapes. From there, build up the shading. Often the outline will be at the join between two different values, and is created by the contrast between the light and dark area.

Contrast! Remember the lines between values? Well, those hard lines form contrast.

High contrast is when subjects are illuminated by a bright light source and cast dark shadows. Light and dark values will be next to each other. In the value chart, you would be skipping a value or two (or more!).

Low contrast uses values that are next to each other on the value chart. With low contrast, values close together will define the bulk of the subject. You could selectively highlight or accentuate portions with lights or darks.

Graded on the European system using a continuum from "H" (for hardness) to "B" (for blackness), as well as "F", a letter arbitrarily chosen to indicate midway between HB and H.

The standard writing pencil is graded HB.

A bit about your drawing pencils…

Practice Value Drawings

Practice Value DrawingsIn your sketchbook, you will draw each of the forms for 5-10 minutes.

Remember to LOOK at what you are drawing – don’t draw what you think, draw what you SEE!!! Your sketchbook will be checked at the end of class.

Different Ways to Create Value

Now you’ll practice these on some Art Cards.

StipplingStippling is actually lots of little dots. Practice making dots of different sizes with your pen or marker. Make some dots pressing lightly. Try some pressing firmly. Press quickly and then hold the tip on the paper for a second or two to see what happens,

Experiment and see how many different dots your marker or pen can make.

Practice making many dots close together to make dark areas. Then make dots lighter and less dense as you move towards light.

StipplingTransform shapes to forms…

Now draw a circle with your pencil. Circles look flat. Make it look like a 3D sphere by stippling with your marker from darkest to lightest.

You might want to find a ball and shine a light on it to see how the light falls on a sphere.

Try squinting your eyes – it helps to see the 3D form emerge as you stipple.

Try making other forms too!

HatchingHatching is actually lots of little lines that are sort of parallel.

Practice making lines of different weights and lengths with your markers. Make some lines drawing lightly. Try drawing firmly. Draw some quickly and then hold the tip on the paper and draw slowly.

Experiment and see how many different hatching lines your marker can make.

Practice making darker lines close together to make the dark areas. Now make fewer, lighter lines as you move towards the light.

HatchingTransform shapes to forms…

Now draw a cylinder with your pencil. Make it look really 3D by drawing hatching lines from darkest to lightest.

It helps to have the hatching lines bend around the form or stay straight in the flat areas. You may want to find a can or other cylinder and shine a light on it to see how the light falls.

Try making other forms too!

CrosshatchingCrosshatching is lots of little lines that cross.

It is very similar to hatching – except the lines crisscross. Practice making crosshatching lines of different sizes with your markers. Makes some lines drawing lightly. Try drawing firmly. Draw some quickly and then draw slowly. Experiment and see how many different crosshatching lines your marker can make.

Practice making many crosshatching lines close together to make dark areas. Then make lighter, less dense crosshatching lines as you move towards the light.

CrosshatchingTransform shapes to forms…

Draw a cube with your pencil. Make it looks more 3D by crosshatching from the darkest area to the lightest. It helps to have the crosshatching lines bend around the form or stay straight in flat areas.

You may want to find a cube form and shine a light on it to see how the light and shadows look.

Try making other forms too!

Name: ____________________________Studio Art Value HW

Principles of Pasta

Principles of PastaThis project will test your knowledge and application of the elements of art and principles of design. Specifically, you will be working with the art element of value and a principle of your choice to create a value drawing of a pasta still life that you will be creating.

What You Will DoOn a 3”x4” card you will create an interesting composition/still life using only the provided pasta…• Clearly demonstrate at least ONE Principle of

Design• Consider multiple solutions and choose best one• Consider how you overlap shapes, the negative space

created, and shadows• Do not be afraid to switch your ideas or change pasta

shapes the more you plan and experiment the better outcome you will have!

What You Will DoOnce you have a final arrangement and composition with the pasta, you will glue the pieces onto the card to create a permanent still life. NOTE: you should take a photo of your final composition plan before you disassemble in order to glue it down and not forget your design.

The still life will then be spray painted white.A viewfinder will be used to focus on a final composition that you will then draw on 9”x12” paper using a full range a value.

Before you start...let’s talk COMPOSITIONAL TOOLS

Compositional Tool: FILL THE PAGE

GOOD BEST

BETTERBAD

Compositional Tool: 3 SIDES TOUCHING

BETTER BEST

BETTERBAD

Compositional Tool: OVERLAPPING

GOOD BEST

BETTERBAD

What You Will DoUsing your viewfinder, create a series of thumbnails to consider multiple compositional solutionsConsider:•Different zoomed in areas•Different angles and views

Create the same 4 quadrant grid on your final drawing surface

What You Will DoUsing your viewfinder and a light pencil, begin to plot basic marks indicating placement of the pasta pieces on your surface

Create a very light contour line drawing to define the edges and value shifts in your composition

What You Will DoSTART WITH THE BACKGROUND

Using your graphite pencil chart, determine the values to place in the negative space and use the correct pencil to achieve each area of value

Subtract value to lighten areas with an eraser and layer on more graphite to darken values

Use craftsmanship to carefully blend transitioning values

What You Will DoCONTINUE TO WORK FROM BACKGROUND TO FOREGROUND

Pay attention to the relationships between the different values of each pasta piece

Use the darker values to create the edge of values between dark and light contrasts rather than drawing contour lines

Use a scrap piece of paper to act as a shield between your hand/arm and the art surface to prevent smudging

What You Will DoREFINE! Make it your best!

Can you see implied form through your use of value shading?

Can you see areas of light, medium and dark values?

Can you see clearly defined edgesbetween the pasta pieces in your composition?

PASTA Value Drawings

Questions?